{"title":"Liadov","description":null,"products":[{"product_id":"pasc303","title":"COATES conducts Russian and French music (1921-24) - PASC303","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003cb\u003e\u003cbr\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003cbr\u003eMusic by\u003cb\u003e Glinka, Liadov, Debussy\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fColourful, euphoric and above all, musical578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI have been unhappy with Pristine Audio’s attempts to make early LPs \nsound like digital CDs, but here we have a collection of acoustic \nrecordings and the transfer engineer is Ward Marston. I have not been \nable to compare any other transfers of these same recordings – the \nvarious sites offering early recordings for free download, such as \nShellackophile and Damian’s 78s, have not so far branched into Coates \nvery much. My impression is that we hear these ancient recordings about \nas well as we are ever likely to. Readers who came to music in the 1960s\n will remember that in those days the typical LP player also had \nprovisions for playing 78s. They invariably reproduced the discs with a \nhigh level of scratchy hiss. On the rare occasions that I actually heard\n some 78s played by a collector with an old player and a stock of fibre \nneedles, the hiss was gentler, more of a swish, and the music somehow \nemerged from it remarkably well. That’s about how we get it here, but \nwith more detail than most of those old players could ever extract. When\n the textures are relatively spare, as in the Ravel, it’s amazing how \nmuch nuance and timbre comes across. But there’s no denying that \nclimaxes get strident, often confused, and the lack of depth is tiring \nto the ear. \u003cbr\u003e \u003cbr\u003eThere are historical recordings where one can still\n be caught up in an enthralling experience. There are others where the \nmusical lessons to be gleaned are so great that it is worth persevering.\n But there are also some where one says “so that’s what it sounded like”\n and passes on to other things. \u003cbr\u003e \u003cbr\u003eThese considerations were \nparticularly aroused by the Glinka and Rimsky-Korsakov items. This is \nthe sort of music that thrives on modern sound. Nor does it call for the\n sort of interpretative insight reserved for the few. One can note that \nCoates’s “Symphony Orchestra”, whatever it was, was a crack band. In \nfast string passages he gets the sort of brilliant articulation \ngenerally associated, in recordings from that period, with Mengelberg \nand the Concertgebouw. Given that fast tempi go at a real lick, anyone \nwho expects to find slack orchestral standards in London of the 1920s is\n in for a surprise. All the same, brilliant playing and high energy \nlevels are not unknown in more recent times, so one would need some \nfurther reason for listening again. Not only do I not find this, I began\n to feel, particularly in the Golden Cockerel music, that Coates’s \nrelentlessly up-front approach has its limits. It was interesting to \nturn to a little-remembered version of this suite set down, I think for \nPye in the 1960s, by the London Philharmonic under Hugo Rignold - you \ncan download this from Rediscovery Paperbacks if you’re interested. The \nLPO was not a virtuoso band at that time but there is a strong feeling \nof affectionate enjoyment of the music by all concerned and a welcome \nreminder that Rignold was a dab hand at music with a strong \nstory-telling content. This is important with music that risks seeming \nthe fruit of the drawing-board more than of inspiration. \u003cbr\u003e \u003cbr\u003eAgainst\n all odds, the performance that gave me most pleasure here was that of \nthe Stravinsky. With the music only thirteen years old, one rather \nexpects to find a bemused orchestra treading warily and none too \nunanimously through the music on a note-by-note basis. Such early \nrecordings of Stravinsky certainly exist – some of them under the \ncomposer’s own baton – but Coates’s band seems to have known the music \nall its life. The score is not played as an extravagant piece of noisy \nmodernism but as a refined successor to Debussy, colourful, euphoric and\n above all, musical. \u003cbr\u003e \u003cbr\u003eIt’s interesting to have this followed by \nKikimora, since Diaghilev had initially asked Liadov to compose the \nFirebird ballet. Stravinsky himself is down as saying that Liadov would \nnever have had the energy to write a score like that. Strangely, in \nCoates’s super-energetic hands the two composers’ styles seem remarkably\n similar! \u003cbr\u003e \u003cbr\u003eThe Debussy is a slightly unsettled performance, \nthough Coates, a noted Wagnerian, makes the most of the Tristan quote. \nIn the Ravel we may note his skill in realizing every detail of the \norchestration but we may also note a pervasively heavy, over-regular \nbeat. How much more flexible is the 1949 Cluytens version, included in \nan Andante compilation of historical Ravel performances, “Le jardin \nfëerique” caressed and built up lovingly where Coates is almost \nperfunctory. Was he at his best only in music that is fast and noisy? \u003cbr\u003e \u003cbr\u003e\n This compilation was sent to me in tandem with another containing \nCoates’s performances, from the same period, of Tchaikovsky’s 5\u003csup\u003eth\u003c\/sup\u003e Symphony and Francesca da Rimini and Borodin’s Polovtsian Dances. For a rounded picture, the reader should now read my \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Dec11\/Tchaikovsky_5_Coates_PASC297.htm\"\u003ereview\u003c\/a\u003e of the companion disc. \u003cbr\u003e \u003cbr\u003e\u003cb\u003e\u003ci\u003eChristopher Howell\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC303.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmilla - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 5 May 1922; Matrix Cc1292-2; Issued on HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cbr\u003eRecorded 10 May and 14 July 1922.\u003cbr\u003eIssued on HMV D732-734.\u003cbr\u003eSide 1 recorded 14 July 1922; matrix Cc1307-4; HMV D732.\u003cbr\u003eSide 2 recorded 10 May 1922; matrix Cc1308-2; HMV D732.\u003cbr\u003eSide 3 recorded 10 May 1922; matrix Cc1309-2; HMV D733.\u003cbr\u003eSide 4 recorded 14 July 1922; matrix Cc1310-4; HMV D733.\u003cbr\u003eSide 5 recorded 14 July 1922; matrix Cc1659-1; HMV D734.\u003cbr\u003eSide 6 recorded 14 July 1922; matrix Cc1660-3; HMV D734.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e The Snow Maiden - Dance of the Tumblers\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 14 July 1922; matrix Cc1661-1; HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 24 and 29 October 1924. Issued on HMV D958 and 959.\u003cbr\u003eSide 1:\u003cb\u003e 1. Introduction – Kashchei's Enchanted Garden – Dance of the Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5298-1; HMV 958\u003cbr\u003eSide 2: \u003cb\u003e2. Supplication Of The Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5297-2; HMV D958.\u003cbr\u003eSide 3: \u003cb\u003e3. The Princesses' Game With The Golden Apples; 4. The Princesses’ Khorovod\u003c\/b\u003e\u003cbr\u003erecorded 24 October 1924; matrix Cc5291-1; HMV D959.\u003cbr\u003eSide 4: \u003cb\u003e5. Infernal Dance Of All Kashchei's Subjects\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5296-2; HMV D959.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Kikimora\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 28 October 1921; matrix Cc608-2; HMV D620\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Golliwog's Cakewalk from Children's Corner Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 25 April 1922; matrix Cc1243-2; HMV D620.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 November 1921, and 25 April 1922. Issued on HMV D708 and 709.\u003cbr\u003eSide 1, \u003cb\u003ePavane de la Belle au Bois Dormant; Petit Poucet.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc709-2; HMV D708.\u003cbr\u003eSide 2, \u003cb\u003eLaideronette, Impératrice des Pagodes.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc710-3; HMV D708.\u003cbr\u003eSide 3, \u003cb\u003eLes entretiens; De la Belle et de la Bête.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1241-3; HMV D709.\u003cbr\u003eSide 4, \u003cb\u003eLe Jardin Férique.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1242-2; HMV D709.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 70:19\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_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC303.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC303.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eReview of this Firebird Suite recording, 1925:\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"I can imagine strife in many a peaceful home when Part 4 of this suite is reached.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFather: \u003c\/b\u003e\"I call that a noise.\"\u003cbr\u003e\u003cb\u003e\u003cbr\u003eSon or Daughter\u003c\/b\u003e,\n with that desire to irritate so conspicuous in happy families : \"Noise?\n A term used by the Elizabethans to denote a band or company of \nmusicians.\"\u003cbr\u003e\u003cbr\u003e(Confused sounds from father.)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eMother\u003c\/b\u003e, reading newspaper, quite irrelevantly remarks \"How terrible these Bolshevists are.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSon\u003c\/b\u003e,\n of course, misunderstands, and replies with withering scorn \"Naturally \nyou cannot understand that the juxtaposition of tonal masses, the \nempirical atonalities, etc., etc.\" (until the entire family is flattened\n out!)\u003cbr\u003e\u003cbr\u003eThe Firebird music suffers more from being detached from \nits proper setting—the theatre—than did the later work Petrouchka. It \nwill sound extraordinarily scrappy and disjointed to anyone who has not \nseen the ballet. Moreover, the titles affixed to the records do not \ncorrespond very satisfactorily with the plot given in the supplement. \nFurther, Mr. Percy Scholes' excellent analytical notes, done for a \nB.B.C. concert at Covent Garden, from which I have culled some \ninformation, present the music in a different sequence to that given \nhere. Perhaps, therefore, the following analysis, merely a personal \ninterpretation fused with the main outlines of the story, will be \nhelpful.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePart 1.\u003c\/b\u003e—An enchanted garden with something \nsinister and evil lurking in the background. A scene bathed in \nhalf-light. After many obscure mutterings the air suddenly grows \ntremulous with sound, a rich glow dispels the shadows. The wonderful \nexotic fire bird flutters into the garden.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 2.\u003c\/b\u003e—She \ndances round a silver tree loaded with golden fruit, seeming to the \nyoung Prince Ivan (hidden in the bushes) the loveliest thing he has ever\n seen. Greatly daring he captures her, but she begs to be released, \noffering him a gift of one of her feathers.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 3.\u003c\/b\u003e—She \ndeparts. The garden is now filled with a band of maidens headed by a \nPrincess. They too dance with charming vivacity and have a game with the\n golden apples. At dawn they disappear.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 4.\u003c\/b\u003e—The Prince\n is seeking them when suddenly there appears the monstrous retinue of \nthe evil spirit of the place, the demon king Kastchei The magic feather \npreserves Ivan's life, but the Firebird also comes to his rescue. She \nmakes the bevy of wild Indians, warrior Turks, Chinamen, Clowns, Imps, \nHobgoblins, Ogres, and Apes burst into a frenzied dance. While they are \nthus engaged she directs Ivan to smash a huge egg in a casket in which \nis hidden the demon's life. This done the monster dies and the loathsome\n creatures vanish. Ivan marries the princess.\u003cbr\u003e\u003cbr\u003eThe highly coloured\n orchestration rather blinds one to the lack of any real \"meat\" in the \nmusic. It is a positive relief on reaching Part 3 to encounter a genuine\n tune, one which seems better than it actually is by reason of what has \ngone before. Rhythmically the music is feverishly alive; melodically it \nhas to rely on actual or spurious folk tunes for sustenance. These sound\n very like concessions. The final section with its blocks of harmonies \npushed this way and that makes a terrific din that fits the stage \npicture, but is meaningless without. As a study for Petrouchka the music\n has a definite interest and as all of us like a bit of \"twopence \ncoloured\" at times, these records will find a place in our cabinets. \u003cbr\u003e\u003cbr\u003eWhatever\n criticisms one may make of this Debussy–Scriabin–Stravinsky confection,\n there are none to be made about the recording. Real oboe tone, that \nfloating incisive quality, is heard at last; the string background, the \noccasional solo violin relief, the writhings and posturings of the wind \nand brass are excellently reproduced. Everyone, at least, will be able \nto take genuine pleasure in the Dance of the Princesses (Part 3).\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eN.P.,\u003c\/b\u003e The Gramophone, April 1925, review of the Albert Coates recording of Stravinsky's The Firebird\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116554932285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116554965053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC303_cc0062e4-597d-48e0-be23-5f9977353135.jpg?v=1554801480"},{"product_id":"pasc479","title":"SEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479","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\u003cb\u003eTCHAIKOVSKY, GLINKA, RIMSKY-KORSAKOV, LIADOV\u003c\/b\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\"\u003eVictor Studio Recordings ∙ 1941 – 1946\u003cbr\u003eTotal duration: 79:00 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eFabien Sevitzky, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eIndianapolis Symphony Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n  \u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: Fanfare \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA real ballet tour de force in fine sound578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFabien Sevitzky (1891–1967) was a \nnephew of Serge Koussevitzky. He shortened his name at the behest of his\n famous uncle, who apparently did not relish competition from another \nKoussevitzky. (I have to mention, however, that when I was a kid in the \n1950s and heard references to Koussevitzky on the radio, I at first \nthought that his last name was Sevitzky and that his first name was \n“Sergekou.” I had also heard of Fabien Sevitzky, so Uncle Serge’s effort\n to avoid “confusion” didn’t work with me.) As producer Mark Obert-Thorn\n recounts in his note for this release, Sevitzky, like his uncle, was a \ndouble bass player, and he played in the Philadelphia Orchestra from \n1923 through 1930. After taking up conducting, he headed the \nIndianapolis Symphony from 1937 through 1955 and recorded with that \norchestra for RCA Victor and Capitol. This release, containing \nperformances recorded 1941–46, is the first installment in a series that\n is projected to reissue all of his recordings with the Indianapolis \nSymphony. (Pristine has already released Sevitzky’s earlier recordings \nwith the Philadelphia Simfonietta, an ensemble he founded before his \nappointment to the Indianapolis position.) Obert-Thorn, rather than \nPristine proprietor Andrew Rose, is responsible for the audio \nrestorations on the present release, and there is no indication that \nRose’s own techniques, XR and Ambient Stereo, have been applied. \nObert-Thorn, of course, has been a renowned practitioner in the \nrefurbishment of historical recordings for decades. His efforts here are\n eminently successful, and very worthwhile, since the performances on \nthis release are uniformly excellent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opening pages of Glinka’s Overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRuslan and Liudmila\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with their rapid runs, are a test for the violin section of any \norchestra. Here and in the recurrence of this passage later in the \npiece, the Indianapolis players acquit themselves well. It helps that \nSevitzky sets a less breakneck tempo than does Evgeny Mravinsky in \nseveral live performances from the 1960s. That is all for the better, \nfor where Mravinsky sometimes sounds too frenetic, and his orchestra a \nbit pressed, Sevitzky’s ensemble executes these passages smoothly, \nmaintaining poise and discipline and not seeming to scramble. (Mravinsky\n himself adopts a similar tempo in a 1981 performance issued by Erato.) \nSevitzky’s treatment is amply energetic and kinetic, with strong \nrhythmic definition and precise phrasing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s tempo for Rimsky-Korsakov’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDubinushka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is less quick than that of Gerard Schwarz (Naxos), but with more \npowerful stresses and incisive phrasing he generates an urgent momentum,\n and his performance is the grander and more triumphant of the two. \nEvgeny Svetlanov (Warner) adopts a still more expansive tempo but shares\n Sevitzky’s penchant for strong accents and heightened grandeur. If \nforced to choose among these three performances, I would takes \nSevitzky’s tightly disciplined and rhythmically incisive one, which \nsounds amazingly good in Obert-Thorn’s restoration of the 1941 \nrecording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s timing for Anatoly Liadov’s miniature tone poem \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBaba-Yaga\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n depicting the fearsome witch of Russian folklore, is once again a bit \nlonger than in the performances I have for comparison, by Svetlanov \n(Melodiya), Valery Gergiev (Philips), and Mikhail Pletnev (DG). (The \ntimings are Svetlanov 3:25, Gergiev 3:12, Pletnev 3:24, Sevitzky 3:44.) \nNone of the faster performances sound rushed, and Sevitzky’s doesn’t \nsound slow. Less overtly violent than Svetlanov, he generates menace by \ncreating a sense of measured but unstoppable forward motion. The \norchestra once again plays with precision and incisiveness. The sound is\n amazingly vivid for a recording made in 1945, although the dynamic \nrange predictably doesn’t match that of the much later recordings cited.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s 1946 account of the Waltz from Tchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEvgeny Onegin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a grand and celebratory one, with the strong rhythmic backbone the \nprevious selections lead one to expect. He generates stronger tension \nand momentum than does Gergiev, on another Philips disc, and the \norchestra plays crisply and incisively, with precise string phrasing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1942 recording of Tchaikovsky’s stunningly powerful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eManfred Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the first ever complete commercial recording of this work, was \npreviously reissued in Britain by the Historic Recordings label and was \nreviewed enthusiastically by Boyd Pomeroy in 34:3. I concur unreservedly\n with his favorable assessment. The balance in Sevitzky’s recording \nappropriately favors winds and brass, unlike that in the modern stereo \nrecordings by Riccardo Chailly (Decca) and Vladimir Jurowski (LPO), \nwhich partly for that reason often sound too soft-edged for my taste. \n(Winds and brass do get their due in recordings by Riccardo Muti, on \nEMI, and Kurt Masur, on Warner.) Sevitzky’s firm pacing helps to unify \nthis sprawling work. The many tempo shifts built into the piece are well\n integrated, and transitions are skillfully managed. The performance is \nat once tightly controlled and deeply felt, with sustained tension and \ndisciplined, incisive playing from the orchestra. The opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLento lugubre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement is perfectly paced to capture the mood of deep \ndespair. The first climax arrives as a sudden, explosive outburst. The \nlyrical \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nsection, representing a memory of Manfred’s beloved sister and \nincestuous lover Astarte, is very deliberate but shaped with loving \ndelicacy. The raging coda is taken at a comparatively quick pace and is \nespecially violent and shattering. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn his note for this release, \nObert-Thorn comments that “some parts are played much more slowly than \nwe are used to,” specifically, the Trio section of the second movement \nand the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n third movement. I would add that the tempo for the scherzo is also more\n deliberate than usual, although it is quicker in the reprise after the \nTrio. I find that these tempos work. The Trio, depicting an Alpine \nfairy, is enchantingly lyrical, and the broader tempo imparts an \nespecially brooding quality to the intrusion of the grim Manfred theme. \nThe pastoral third movement starts off in a rapturous, bucolic vein, but\n the minor-key episode that soon intrudes has a forceful thrust, and the\n movement builds to an intense passion. In the finale, the opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con fuoco\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n section (and the recurrence of this tempo later in the movement) is \nfast, incisive, and fiery indeed. The evocation of Astarte is once again\n tenderly lyrical, and the final climax, recapitulating the conclusion \nof the first movement, is just as raging and violent as in its original \nappearance. The solemn coda, reflecting Manfred’s redemption in death, \nis firmly paced and not too slow, celebratory rather than pompous. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOn the basis of this release, Fabien \nSevitzky appears to have been an excellent conductor, eminently \ndeserving of renewed attention. In these performances he imposes tight \norchestral discipline and firm tempos, but he also generates rhythmic \nvitality, urgent momentum, and dramatic excitement. The Indianapolis \nSymphony, too, long ensconced as a respected but not renowned member of \nthe second tier of American orchestras, shows itself to have been a very\n fine ensemble in this era. The sound quality of Obert-Thorn’s \nrestorations is good enough that listeners could contemplate purchasing \nthis release simply for enjoyment of the works included, and not just \nfor its historical value. I look forward with eager anticipation to \nfurther releases in this series. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe restoration of the Fabien Sevitzky (nee Koussevitzky) reading of the Tchaikovsky \u003ci\u003eManfred Symphony\u003c\/i\u003e\n (27-28 January 1942) at the Mural Theatre, Indianapolis by audio \nengineer and annotator Mark Obert-Thorn is not the first CD incarnation \nof this performance: it had been issued on the Historic-Recordings.co.uk\n label in 2009 (HRCD 00017) in a transfer by Damien Rogan. Under that \naegis, the gloomy, dramatic symphony inspired by Lord Byron’s 1816 epic \npoem stands alone; here, Obert-Thorn adds – in the first two selections \nfrom 1941 – the earliest of the conductor’s sessions at RCA Victor. \nSevitzky (1891-1967) – nephew of his more illustrious uncle Serge \nKoussevitzky – had studied both with Liadov and Rimsky-Korsakov in St. \nPetersburg, so he had imbibed the Russian style naturally. An avid \ncollector of neckwear, Sevitzky claimed to possess the second largest \nassortment of neckties, after that of the actor Adolf Menjou. The boast \ncame as part of the Indianapolis Orchestra’s appearance at Cornell \nUniversity, 2 December 1940.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe \u003ci\u003eManfred Symphony\u003c\/i\u003e (1886) evolved from the efforts of Mily \nBalakirev to convince Tchaikovsky that the latter could write a \nprogrammatic work after Byron without having become overwhelmed by the \nBerlioz influence. Tchaikovsky balked a number of times, but he finally \nconceded to his own imagination, which had been thwarted for two years \nby his own admiration of the Schumann treatment of the poem as an \nincidental melodrama. Typically, Tchaikovsky utilizes a series of \nleitmotifs to follow the course of his protagonist, who suffers an acute\n form of Romantic Agony.  Manfred pines for his lost beloved Astarte, \nand the various fits of passion enjoy throes worthy of Poe as well as \nByron.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eGiven the modern popularity of the score among such conductors as \nMarkevitch, Maazel, Rachlin, and Louis Lane, some of Sevitzky’s tempos \nseem unconventional. Leonard Bernstein loathed the music, calling it \n“trash.” Toscanini in 1949 performed the work, even extolling its form –\n and then cut well over 100 bars from the last movement. The outer \nmovements from Sevitzky unfold quite sympathetically, and the \nIndianapolis string tone can be elegant. The second movement \u003ci\u003eVivace con spirito\u003c\/i\u003e – Manfred’s meeting with an Alpine fairy – moves from \u003ci\u003eb minor\u003c\/i\u003e to \u003ci\u003eD Major\u003c\/i\u003e,\n and its secondary theme must be counted among Tchaikovsky’s most lovely\n tunes, soon in counterpoint with the “Manfred” motif. The second \nmovement received the attention of Albert Coates who, unfortunately, \nrecorded no more of the work. Sevitzky slows down the romantic theme \nconsiderably, while the outer sections – somewhat in the “flighty” style\n of Mendelssohn – move briskly.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSevitzky’s \u003ci\u003eAndante con moto\u003c\/i\u003e third movement – a \u003ci\u003eG Major\u003c\/i\u003e \nsiciliana much in the bucolic, Berlioz style – moves at a dangerously \nslow pace, threatening at moments to lose the melodic thread. Still, the\n winds and strings preserve a redolent, spatial sensibility, quite \neffective. The last movement means to convey subterranean bacchantes in \nthe presence of Astarte’s shade, and we soon hear Sevitzky’s \nsubstitution of a side drum for the composer’s designated tambourine. \nThe fugal writing cedes more to German academics than to musically \ndramatic logic.  The cymbal crashes prove jarring, as required. The \nManichean progression from dark to light, \u003ci\u003eb minor\u003c\/i\u003e to\u003ci\u003e B\u003c\/i\u003e \u003ci\u003eMajor\u003c\/i\u003e,\n ends with an exalted chorale, Manfred’s transfiguration. For a first \ncomplete rendition of this ambitious and ungainly score, the Sevitzky \nholds up well.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe other Russian items reveal an energetic, fiery personality before the music. The Glinka \u003ci\u003eRusslan and Ludmilla Overture \u003c\/i\u003e(8\n January 1941) bursts forth furiously, well in the manner of Yevgeny \nMravinsky, with a vibrato-rich string tone. The 1905 political-campaign \nsong \u003ci\u003eDubinishka \u003c\/i\u003e(7 January 1941) savors the \u003ci\u003emarcato\u003c\/i\u003e approach, militant and somber. The Indianapolis brass shines here, as well it should. The \u003ci\u003eOp. 56\u003c\/i\u003e symphonic character-piece \u003ci\u003eBaba-Yaga\u003c\/i\u003e by Liadov revives the folk-lore witch-figure, more recently embodied in Keanu Reeves’ film \u003ci\u003eJohn Wick\u003c\/i\u003e.\n The little demon snarls, hops and skips with adequate malevolence in a \nresonant RCA record from 9 February 1945. Tchaikovsky’s \u003ci\u003eWaltz from Eugene Onegin\u003c\/i\u003e\n first impressed me when Beecham’s Royal Philharmonic played it. Then, I\n heard the Waltz with the vocal accompaniment in the opera, led by \nMitropoulos. Here (19 March 1946), Sevitzky keeps the lithe, somewhat \nbreathless, momentum primary, a real ballet tour de force in fine sound.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003ca href=\"https:\/\/www.audaud.com\/fabiren-sevitzky-the-indianapolis-sym-vol-i-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC479.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabien Sevitzky conducts the Indianapolis Symphony\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29 \nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge \nKoussevitzky’s, his original last name was the same, but later shortened\n at his uncle’s request to avoid confusion.  Like him, Sevitzky took up \nthe double bass in order to win a conservatory scholarship.  After \nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s \nPhiladelphia Orchestra in 1923.  Two years later, he organized members \nof the ensemble’s string section into the Philadelphia Chamber String \nSimfonietta.  (Their complete recordings have been reissued on Pristine \nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he \ncontinued to conduct the chamber ensemble until 1941.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSevitzky was appointed conductor of the Indianapolis Symphony \nOrchestra in 1937, a post he held until 1955.  He retired to Florida, \nwhere he became a faculty member at the University of Miami, leading the\n school’s orchestra and continuing to guest conduct internationally.  It\n was during one such appearance in Athens that Sevitzky died on 3 \nFebruary 1967.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony \nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\n were made for Capitol LPs in 1953.  The present program is the first in\n a series which aims to reissue them all, some for the first time since \ntheir initial release.  None of them have ever received an “official” CD\n reissue.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\n Overture comes on like gangbusters, showing off the exuberance and \nvirtuosity of the ensemble and conductor in sound that was \nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\n revolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\n is worth noting that Sevitzky studied under both Rimsky and Liadov at \nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\n he paints a vivid tonal characterization of the same mythical witch who\n inspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e \nSymphony was the first complete version made of the work (Albert Coates \nhad previously recorded the second movement alone), and would remain the\n only one until Toscanini’s 1949 recording, with a cut of some 100 bars \nin the finale, appeared on LP.  It is dramatically paced, with much \nexcitement in the faster sections.  However, some parts are played much \nmore slowly than we are used to.  The third movement’s “Andante con \nmoto” is here more of an “Adagio molto”; and the second movement’s trio \nis not “l’istesso tempo” as marked by Tchaikovsky, but something \nconsiderably slower.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eEven more curious is Sevitzky’s substitution of a snare drum \n(side drum) for the tambourine in the bacchanal which opens the fourth \nmovement.  The conductor could have interpreted the “tamb.” marked in \nthe score as referring to a “tamburo piccolo” or snare drum.  However, \nthe first page of the score spells out “tambourine”, so there should \nhave been no confusion.  Its presence here remains a mysterious \nprecedent that no other known conductor has followed.  (I am indebted to\n writer Edward Johnson for pointing this out.)\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe sources for the transfers were American Victor 78 rpm \nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\n items; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eGLINKA:  \u003cem\u003eRusslan and Ludmilla\u003c\/em\u003e – Overture \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 8 January 1941 \u003cbr\u003eMatrix No. CS 057573-2 \u003cbr\u003eVictor 17731\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eRIMSKY-KORSAKOV:  \u003cem\u003eDubinushka\u003c\/em\u003e, Op. 69\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 7 January 1941\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix No. CS 057574-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eLIADOV: \u003cem\u003eBaba Yaga\u003c\/em\u003e, Op. 56\u003c\/b\u003e \u003cbr\u003e Recorded 9 February 1945 \u003cbr\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003c\/b\u003e                                                    Recorded 19 March 1946\u003cbr\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  \u003cem\u003eManfred\u003c\/em\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eRecorded 27-28 January 1942\u003cbr\u003eMatrix Nos. CS 071331-1, \n071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1, \n071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eIndianapolis Symphony Orchestra  ∙  Fabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC479.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC479.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":31975957005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975957069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC479_f7e5074c-a789-4777-8d68-dff4c30f8b30.jpg?v=1487682581"},{"product_id":"pasc479-cd","title":"SEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - 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PASC192","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eFirebird Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eOverture to 'Tannhäuser'\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBRAHMS, GRIEG, MOZART, WEBER, BEETHOVEN\u003cbr\u003eTHOMAS, RIMSKY-KORSAKOV, GOUNOD, LIADOV\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1917-1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 70:37 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOf considerable interest for Stokowski admirers and those who are interested in the history of recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSure enough, in the same mail that brought me that\n Cala finale was a CD titled “Stokowski—Acoustic, Volume One.” I am not \nclear on whether it is merely the first volume of his acoustic \nrecordings or the first volume of a complete Stokowski series or \nsomething in between. Time will tell. Why do people continue to exhume \nthese sonic antiques? A respect for history? Admirable sentiment. A \ndesire to milk every last decibel and frequency wave from those hissing \nshellac grooves? Equally admirable. Stokowski, who began his \nPhiladelphia career in 1912, had initially resisted making recordings \nbecause he found them too primitive. Then, he changed his mind, \nexplaining, “I thought to myself: how stupid of you! You should record \nthis way and although it is bad and you should try to make better \nmethods of recording. . . . Then I tried to find better methods of \nrecording and very slowly they were made better but the first records \nwere made in 1917 and I’ve forgotten what they were. I’m glad I have \nbecause they were awful.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski’s early recordings were made in the \nauditorium of the New Office Building in Camden. I think some later ones\n were made in a Camden church. In those days, as many players as could \nbe accommodated were squeezed under a huge wooden horn. One source \nclaims that 90 Philadelphia Orchestra players made it under the horn. I \nsimply do not believe it. The orchestra sounds skimpy and brassy in the \nBrahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Nos. 5 and 6. I have read that, of the 450 acoustic sides he recorded, \nhe only approved 66. The selections on the CD are presented in \nchronological order of recording (skipping a few) so that one can \nactually hear a slight improvement by the time one arrives in 1924 for \nhis first of his eight recordings of the 1919 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n (I believe this is the record for one conductor recording the same \npiece), which Stravinsky had only assembled five years before the \nrecording. He cuts part of the finale, presumably to get the Suite onto \nfour sides. He also streamlines Felix Weingartner’s orchestration of \nWeber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n omitting repeats. Among the steps Stokowski took to try to improve the \nsound was shuffling the players around for better balance and having the\n horns face away from him so that the bells of the instrument would face\n the front. He changed the orchestration of some music, having the \nwoodwinds and brasses double some strings in the lower registers. You \ncan hear tuba or bass saxophone replacing double basses on some \nrecordings. He also tried various acoustic baffles to reflect the sound \nmore. He must have felt somewhat relieved in 1925, when electrical \nrecording came along, although Victor, at first, didn’t quite know what \nto do with it, continuing to record a reduced Philadelphia Orchestra in \nthe company’s dead Trinity Church studio in Camden, and substituting a \nbass saxophone for the double basses and a contrabassoon for the \ntimpani! By 1926, Victor’s engineers had gotten the message and the full\n orchestra began recording at the Academy of Music without any changes \nin the orchestration. Stokowski may have thought that some of these \nearly efforts were “awful,” but they may prove to be of considerable \ninterest for Stokowski admirers and those who are interested in the \nhistory of recording, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC192.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAll the acoustic recordings Stokowski made only once\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus his first Firebird Suite - in astonishing XR-remastered sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski made his first recordings with the Philadelphia Orchestra in 1917 though, as Edward Johnson has noted, \"between 1917 and 1924, they made an estimated 450 acoustic recordings, but the old method of playing into a large horn gave a very poor representation of orchestral sound, and of all their acoustic discs, only 60 or so were actually issued...\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIndeed, Stokowski's very first acoustic recordings were never released - his first attempts at the two Brahms Hungarian Dances included here were recorded on 22nd October, 1917, together with two works by Tchaikovsky. All four recordings were remade - in the case of the Brahms, just two days later, to become the first released recordings conducted by Stokowski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt is indeed true, as Edward Johnson states, that in their 'natural' state, acoustic recordings made a pretty poor job of capturing anything much - though HMV's legendary producer Fred Gaisberg always had an affectionate soft spot for the way they captured the human voice. It has become a generalisation to state that the recordings captured little below 200Hz, and perhaps little above 2500Hz, or perhaps 3000Hz at a push.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, as these recordings demonstrate, this was not necessarily the case - though it often takes the kind of advanced restoration processing that Pristine's XR remastering brings to these recordings to uncover the real range and quality of acoustic recordings. In the case, for example, of the first recording on this collection, there's a full bass going down to (and possibly below) 70Hz - a frequency extension of almost two octaves over the accepted lower limits. Meanwhile, throughout the recording one can clearly hear string harmonics in the 3500-4000Hz range, and where the brass plays at full volume there's genuine audio content up at (and beyond) 5kHz, which is not far off the upper end of electrical recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn order to hear these extremes it has been necessary first to dramatically re-equalise sound that has been highly coloured and harmonically distorted by the horn it was recorded through. This therefore comprises the first stage of the XR process in this context. Secondly we then have to apply highly selective, targeted noise reduction to those frequencies which have received what has often been a quite enormous level boost, rooting out the noise and leaving as much of the actual recorded audio intact.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe results of this are genuinely astonishing - even more so when the records were slowed down to concert pitch (apparently it was common for Victor to deliberately record at below 78rpm so that their records sounded brighter when played back at their stated speed). The majority were out by up to a full semitone (though some were considerably closer to true concert pitch), and the correction of this adds further depth and authenticity to the instrumental sound, as well as giving a much more sensible idea of Stokowski's tempi.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recordings here, ordered by date of recording, include every piece (or version) that Stokowski only recorded once and in the acoustic era. It was astonishing to learn that his later studio recordings included neither Mozart's \u003cem\u003e40th Symphony\u003c\/em\u003e nor Beethoven's \u003cem\u003eEighth\u003c\/em\u003e, and that as a result the movements here represent his only studio-recorded comments on these major works. Meanwhile the Dresden version of Wagner's \u003cem\u003eTannhäuser Overture\u003c\/em\u003e was replaced by the later Paris version in all his subsequent recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, I decided to add one work which Stokowski recorded more than any other conductor - Stravinsky's \u003cem\u003eFirebird Suite\u003c\/em\u003e, in a rare acoustic recording which was made right at the end of the acoustic era, and was swiftly remade in front of a microphone. Like many of the recordings in this collection, it has never been reissued on vinyl or CD.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThese XR-remastered recordings probably serve to knock about ten years off the perceived age of many of these recordings (though they won't of course disguise the substitution of tubas for double basses) - and these remarkable recordings can be enjoyed as if they were recorded in the early days of electrical recordings, rather than the dying days of the acoustic horn - albeit with at times slightly higher surface noise.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 5 in G minor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:53)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64752, Matrix B-20888-3\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 6 in D\u003c\/span\u003e (3:05)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64753, Matrix B-20889-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRIEG\u003c\/strong\u003e Anitra's Dance from 'Peer Gynt' Suite No. 1, Op.46\u003c\/span\u003e (3:11)\u003cbr\u003e Recorded 8\/11\/1917, first issued as Victor 64768, Matrix B-21067-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e \u003cstrong\u003eMOZART\u003c\/strong\u003e 3. Menuetto, Symphony No. 40 in G minor, K550\u003c\/span\u003e (4:00)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74609, Matrix C-22813-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBER\u003c\/strong\u003e Invitation to the Dance, J260 (arr. Weingartner) \u003c\/span\u003e(4:45)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74598, Matrix C-22821-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93 (\u003c\/span\u003e4:06)\u003cbr\u003e Recorded 20\/5\/1920, first issued as Victor 74661, Matrix C-24127-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Overture to 'Tannhäuser' (Dresden version)\u003c\/span\u003e (13:03)\u003cbr\u003e Recorded 7\/11 \u0026amp; 5\/12\/1921, first issued as Victor 74758, 74759, 74768\u003cbr\u003e Matrices C-22808-10, 22814-7, 24999-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Fireworks, Op. 4\u003c\/span\u003e (3:35)\u003cbr\u003e Recorded 6\/11\/1922, first issued as Victor 1112, Matrix B-27064-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTHOMAS\u003c\/strong\u003e Gavotte from 'Mignon'\u003c\/span\u003e (1:54)\u003cbr\u003e Recorded 6\/3\/1923, first issued as Victor 66172, Matrix B-27982-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRIMSKY-KORSAKOV\u003c\/strong\u003e Dance of the Tumblers from 'Snow Maiden'\u003c\/span\u003e (3:43)\u003cbr\u003e Recorded 19\/3\/1923, first issued as Victor 74849, Matrix C-27938-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOUNOD\u003c\/strong\u003e Waltz from 'Faust' \u003c\/span\u003e(3:07)\u003cbr\u003e Recorded 1\/5\/1923, first issued as Victor 66171, Matrix B-27099-8\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Festive March from 'Tannhäuser'\u003c\/span\u003e (4:18)\u003cbr\u003e Recorded 28\/4\/1924 first issued as Victor 6478, Matrix C-29051-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Firebird Suite\u003c\/span\u003e (16:02)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 6492\/3 \u003cbr\u003e Matrices C-30992-3, 30993-3, 30994-2, 30995-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLIADOV\u003c\/strong\u003e Dance of the Amazon, Op. 65\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:37)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 1112, Matrix B-31263-2\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eThe Philadelphia Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose, September 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 70:37 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBACH (arr Elgar)\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Fantasia and Fugue in C minor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Gratulations-Menuett\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Creatures of Prometheus - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 9 'Choral'\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Symphony No. 5 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Francesca da Rimini\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBORODIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Prince Igor - Ballet \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Symphony No. 41, 'Jupiter'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Der Schauspieldirektor - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Symphony No. 6, \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e March Slave\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Romeo and Juliet Fantasy Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGLINKA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ruslan and Lyudmila Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Coq d'Or - suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Firebird Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMusic by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Glinka, Liadov, Debussy\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Petrushka Ballet\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBORODIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Prince Igor - excerpts\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e May Night - Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMUSSORGSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC296.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\"\u003eCOATES conducts Beethoven and Bach (1925\/28) - PASC296\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAlbert Coates - one of the great pioneering British conductors\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeginning our Coates season from Ward Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eIntroduction to our Albert Coates series:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAbout five years ago I travelled to the UK for a couple of days in order to meet up with the then editor of Gramophone (and now editor-in-chief), James Jolly. The main subjects of discussion were proposals for the Gramophone website and the possibility of a tie-in with the National Gramophonic Society recordings, a good number of which Gramophone had in storage with EMI.\u003cbr\u003e\u003cbr\u003eAt the end of our long lunch, with various ideas talked through, our discussion started to range a little wider, and James touched on a name he was really keen to hear more of: Albert Coates. I must admit that at the time I had very little awareness of Coates, but some research revealed him to be one of the greatest and most forward-looking British conductors of his day, a leading Wagnerian, and perhaps as a result of being Russian-born (to an English father), someone with a strong affinity to Russian music.\u003cbr\u003e\u003cbr\u003eIn 1919 he was appointed chief conductor to the London Symphony Orchestra, and began to make recordings with them for the Columbia Record Company in London. However, a decision by Coates to switch allegiances to HMV a couple of years later led to a number of recordings coming out during the 1920s listing him as conductor of an anonymous orchestra - which was almost certainly comprised largely of \"moonlighting\" members of the LSO.\u003cbr\u003e\u003cbr\u003eThus his electrical recording of Beethoven's 9th, one of, if not the first microphone recording of the symphony, appeared in 1926 without proper credit, and is still excluded from the main body of the LSO's official discography - and we thus cannot be 100% sure of the precise make-up of the orchestra that does play, though it is listed in an appendix as being the LSO. By 1927 HMV had bagged the LSO and normal service was resumed for a while, though his contract with the orchestra had expired in 1922 and from then on he had no permanent conducting post. He relocated to the US during World War II and thereafter to South Africa, where he died in 1953. \u003cbr\u003e\u003cbr\u003eAlthough Coates continued to record on and off until 1945, it might be well-argued that his major contributions to the recorded canon took place during the 1920s, and it is this period which we're concentrating on in a major series put together by Ward Marston, versions of some of which may have been circulating amongst collectors, but which is seeing its first formal, commercial issue here on Pristine. \u003cbr\u003e\u003cbr\u003eThe series will bring together both electrical and acoustic recordings and is initially running to 6 volumes, with a possible further three later this year or in 2012.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose, from Pristine Newsletter, 8th July 2011\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eNB. The present recording of Beethoven's Symphony No. 9 has a significant cut partway into the third movement, similar or possibly identical to a cut Coates used in his earlier, acoustic recording of the symphony. The work is otherwise complete and uncut.\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\"\u003eCOATES conducts Mozart and Beethoven (1921-24) - PASC298\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAlbert Coates - complete Mozart 'Jupiter' and Beethoven 7th\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eRare acoustic recordings in excellent new transfers by Ward Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cp class=\"bodybigblue\"\u003e\u003cbr\u003eUntangling the Beethoven Symphony No. 7 issues\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFor this reissue, I transferred the six sides of 1921 from the Victor issue, and the 1922 remakes of movements 3 and 4 from the French W series issue:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eMovement I\u003c\/strong\u003e: 25 October 1921; (Cc589-1, Cc590-2) \u003cem\u003eassigned HMV catalogue number D604 but only published on Victor 55165 and later on French HMV W437.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement II\u003c\/strong\u003e: 25 October 1921; (Cc591-2, Cc592-2) \u003cem\u003eassigned HMV catalogue number D605 but only published on Victor 55166 and later on French HMV W438.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement III (abridged)\u003c\/strong\u003e: 25 October 1921; (Cc593-1);\u003cem\u003e assigned HMV catalogue number D606 but only published on Victor 55173.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV (abridged)\u003c\/strong\u003e: 28 October 1921; (Cc605-3) \u003cem\u003eassigned HMV catalogue number D606 but only published on Victor 55173. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eRemakes of 3rd and 4th movements\u003c\/strong\u003e, each complete on 2 sides:\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMovement III\u003c\/strong\u003e: 17 November 1922; (Cc2166-2, Cc2167-2) \u003cem\u003eassigned HMV catalogue number D927 but only published on French HMV W480.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV\u003c\/strong\u003e: 17 November 1922; (Cc2168-2, Cc2169-2) \u003cem\u003eassigned HMV catalogue number D928 but only published on French HMV W481.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe HMV files give assigned D series numbers to both recordings as I have indicated, but I don't think they were ever issued. The 1921 six sided version of the symphony was issued on blue label Victor 55165 55166 and 55174. In 1924, HMV planned to issue the first 2 movements from 1921, along with the remakes of the 3rd and 4th movements. It was never issued in England, but years ago, I discovered quite by accident having found a copy, that French HMV had issued it on W 437, 438, 480, and 481.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eWard Marston\u003c\/strong\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\"\u003eCOATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAlbert Coates: Tchaikovsky's Pathétique Symphony and more\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Fine transfers ensure that Coates’ message comes across loud and clear.\"\u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThe Pathetique symphony is transferred from quiet \nItalian pressings, the only set of quiet pressings I have ever seen - \nlate 1930s Italian VDP pressings which yield far quieter surfaces than \ndomestic HMV pressings. This recording has wonderfully ambient sonics \nbut very little low frequency content, The reason being that the \nperformance was transmitted over phone line from Kingsway Hall to Small \nQueen’s hall. I did what I could to boost the lower frequencies. One can\n hear that sides 2 and 5 were recorded under different conditions than \nthe rest of the recording. One can also hear some low frequency \nelectronic noises during the final side.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Romeo and Juliet, with the Glinka filler, was only \nissued on Czech HMV. I have only seen 3 sets in 30 years and my set is \nthe only one of the three that has no blasting on the loud passages. VDP\n numbers AW46-48 are listed in Alan Kelly's compilation files, but I \nhave not heard of a copy in circulation. The March Slav is also very \nscarce.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"body\"\u003eWard Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Beethoven and Bach (1925\/28) - PASC296\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBACH (arr Elgar)\u003c\/strong\u003e - Fantasia and Fugue in C minor, BWV 537\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 11 and 12 October 1928 \u003cbr\u003eIssued on HMV D1560\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e*BEETHOVEN\u003c\/strong\u003e - Gratulations-Menuett, WoO 3\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 October 1925 \u003cbr\u003eIssued on Victor 9048\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e The Creatures of Prometheus - Overture , Op. 43 \u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 6 January 1927\u003cbr\u003eIssued on HMV D1163\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e*\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 9 in D minor, Op. 125 \"CHORAL\"\u003c\/span\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003eRecorded 14, 15 and 19 October 1926\u003cbr\u003eTransferred from Z shellac Victor pressings 9061-68 (except final disc, from a Victor Orthographic pressing)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003eElsie Suddaby\u003c\/strong\u003e, soprano \u003cbr\u003e\u003cstrong\u003eNellie Walker\u003c\/strong\u003e, contralto \u003cbr\u003e\u003cstrong\u003eWalter Widdop\u003c\/strong\u003e, tenor \u003cbr\u003e\u003cstrong\u003eStuart Robinson\u003c\/strong\u003e, bass \u003cbr\u003e\u003cstrong\u003ePhilharmonic Choir\u003c\/strong\u003e (dir. Charles Kennedy Scott)\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e(*Credited to Symphony Orchestra, probably members of LSO) \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eSpecial thanks to Richard Kaplan for supply of original 78s used in this transfer \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  78:04 \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\"\u003eCOATES conducts Russian Music (1922-24) - PASC297\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e - Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 October, 3 \u0026amp; 17 November, 22 December 1922 \u003cbr\u003eIssued on HMV D759-764\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e - Francesca da Rimini - Symphonic Fantasy after Dante, Op 32 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 \u0026amp; 24 October 1924\u003cbr\u003eIssued on HMV D951-952\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBORODIN\u003c\/strong\u003e - Prince Igor - Ballet \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Prince_Igor\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Prince_Igor_%28Borodin,_Alexander_Porfirevich%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 18 October 1923\u003cbr\u003eIssued on HMV D795\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eThe Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e(Credited to The Symphony Orchestra, probably members of London Symphony Orchestra)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTotal duration: 68:50\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\"\u003eCOATES conducts Mozart and Beethoven (1921-24) - PASC298\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART\u003c\/strong\u003e - Symphony No. 41 in C, K.551 \"JUPITER\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 27 August and 16 October 1923\u003cbr\u003eIssued on HMV D942-45\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART \u003c\/strong\u003e- Der Schauspieldirektor, K486 - Overture\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 \u0026amp; 24 October 1924\u003cbr\u003eIssued on HMV D951-952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e - Symphony No. 7 in A, Op. 92 \u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 \u0026amp; 28 October 1921\u003cbr\u003eIssued on Victor 55165, 55166, 55173\u003cbr\u003e3 \u0026amp; 4 re-recorded 17 November 1922\u003cbr\u003eIssued on French HMV W480, W481\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eThe Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e(Credited to The Symphony Orchestra, probably members of London Symphony Orchestra)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTotal duration: 70:41\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\"\u003eCOATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 in B minor, Op. 74 \"Pathétique\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003eRecorded 15 September 1926 \u0026amp; 6 January 1927. \u003cbr\u003eIssued on English HMV D1190-94, on VDP AW148-152, Gramola ES232-236, and Electrola EJ116-120\u003cbr\u003eMatrices:\u003cbr\u003eMovement I: CR665-2A, CR666-3, CR667-2, CR668-2.\u003cbr\u003eMovement II: CR669-2A, CR670-1.\u003cbr\u003eMovement III: CR671-1, CR672-1.\u003cbr\u003eMovement IV: CR673-1A, CR674-1A \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e March Slave Op. 31\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003ematrices Cc20616-2 and Cc20617-1; \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet Fantasy Overture\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003eMatrices: Cc13707-2, Cc13701-1, Cc13702-2, Cc13703-1, and Cc13704-1.\u003cbr\u003eissued only on Czech HMV  ES481-3.\u003cbr\u003eVDP numbers AW46-48 are listed in Alan Kelly's compilation files, but I have not heard of a copy in circulation. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmila Overtur\u003cem\u003ee\u003c\/em\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 17 October 1928\u003cbr\u003eIssued on HMV ES483\u003cbr\u003eMatrix Cc13723-2\u003cbr\u003e\u003cbr\u003eAll recordings: Kingsway Hall, London\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\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\"\u003eCOATES conducts Russian and French music (1921-24) - PASC303\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmilla - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 5 May 1922; Matrix Cc1292-2; Issued on HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cbr\u003eRecorded 10 May and 14 July 1922.\u003cbr\u003eIssued on HMV D732-734.\u003cbr\u003eSide 1 recorded 14 July 1922; matrix Cc1307-4; HMV D732.\u003cbr\u003eSide 2 recorded 10 May 1922; matrix Cc1308-2; HMV D732.\u003cbr\u003eSide 3 recorded 10 May 1922; matrix Cc1309-2; HMV D733.\u003cbr\u003eSide 4 recorded 14 July 1922; matrix Cc1310-4; HMV D733.\u003cbr\u003eSide 5 recorded 14 July 1922; matrix Cc1659-1; HMV D734.\u003cbr\u003eSide 6 recorded 14 July 1922; matrix Cc1660-3; HMV D734.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e The Snow Maiden - Dance of the Tumblers\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 14 July 1922; matrix Cc1661-1; HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 24 and 29 October 1924. Issued on HMV D958 and 959.\u003cbr\u003eSide 1:\u003cb\u003e 1. Introduction – Kashchei's Enchanted Garden – Dance of the Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5298-1; HMV 958\u003cbr\u003eSide 2: \u003cb\u003e2. Supplication Of The Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5297-2; HMV D958.\u003cbr\u003eSide 3: \u003cb\u003e3. The Princesses' Game With The Golden Apples; 4. The Princesses’ Khorovod\u003c\/b\u003e\u003cbr\u003erecorded 24 October 1924; matrix Cc5291-1; HMV D959.\u003cbr\u003eSide 4: \u003cb\u003e5. Infernal Dance Of All Kashchei's Subjects\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5296-2; HMV D959.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Kikimora\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 28 October 1921; matrix Cc608-2; HMV D620\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Golliwog's Cakewalk from Children's Corner Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 25 April 1922; matrix Cc1243-2; HMV D620.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 November 1921, and 25 April 1922. Issued on HMV D708 and 709.\u003cbr\u003eSide 1, \u003cb\u003ePavane de la Belle au Bois Dormant; Petit Poucet.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc709-2; HMV D708.\u003cbr\u003eSide 2, \u003cb\u003eLaideronette, Impératrice des Pagodes.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc710-3; HMV D708.\u003cbr\u003eSide 3, \u003cb\u003eLes entretiens; De la Belle et de la Bête.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1241-3; HMV D709.\u003cbr\u003eSide 4, \u003cb\u003eLe Jardin Férique.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1242-2; HMV D709.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 70:19\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\"\u003eCOATES conducts Rimsky, Mussorgsky, Borodin \u0026amp; Stravinsky (1926-30) - PASC304\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cbr\u003eRecorded 16 February 1928. matrices CR-1699-1A and CR-1700-1; \u003cbr\u003eHMV D1491. \u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e May Night - Overture\u003c\/span\u003e\u003cbr\u003eMatrix\n CR-2454-3, Recorded 8 October 1929, Queen’s Hall, transmitted by phone \nline to Small Queen’s Hall; matrix   Cc-17848-2, recorded 5 November \n1929, Hayes Main Studio. \u003cbr\u003eIssued on HMV D1744. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMUSSORGSKY\u003c\/b\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003cbr\u003eRecorded 7 May 1930, Queen’s Hall, transmitted by phone line to Small Queen’s Hall. \u003cbr\u003eMatrices CR-2486-2 and CR-2487-2; Issued on HMV D1855. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor - Overture\u003c\/span\u003e\u003cbr\u003eRecorded 26 October 1926, Kingsway Hall, transmitted by phone line to Small Qqueen’s Hall. \u003cbr\u003eMatrices CR-815-1 and CR-816-1;Issued on HMV D1210. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor – Ballet of the Polovetsian Maidens\u003c\/span\u003e\u003cbr\u003eRecorded\n 24 October 1927, Queen’s Hall, transmitted by phone line to Small \nQueen’s Hall; matrices CR-1554-1 and CR-1555-1A; Issued on HMV D1528. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Petrushka Ballet\u003c\/span\u003e \u003cbr\u003eRecorded\n 19 and 24 October 1927, Queen’s Hall, transmitted by phone line to \nSmall Queen’s Hall;; 5 January and 15 February 1928. Kingsway Hall; \ntransmitted by phone line to Small Queen’s Hall. \u003cbr\u003eIssued on HMV D1521-1524. \u003cbr\u003eThis set was also issued on Italian and Czech HMV as well as Electrola but never on Victor. \u003cbr\u003eThe matrix and date information is as follows: \u003cbr\u003eSide 1. CR-1542-2B (19 October 1927) \u003cbr\u003eSide 2. CR-1543-3A (5 January 1928) \u003cbr\u003eSide 3. CR-1544-1A (19 October 1927) \u003cbr\u003eSide 4. CR-1545-4 (15 February 1928) \u003cbr\u003eSide 5. CR-1546-1A (19 October 1927) \u003cbr\u003eSide 6. CR-1547-2 (15 February 1928) \u003cbr\u003eSide 7. CR-1552-1A (24 October 1927) \u003cbr\u003eSide 8. CR-1553-2 (24 October 1927) \u003cbr\u003e\u003cbr\u003eThe present transfer was made from mid-1930s Electrola pressings, EJ381-384. \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eElectric HMV recordings 1926-30\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 73:15\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 Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116560109629,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205541314894,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC296.jpg?v=1769529760"},{"product_id":"pabx024-cd","title":"COATES The Pristine Collection - 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As in previous releases, the\n    listener can marvel at the glorious pianism of a musician who left behind\n    no commercial solo discs and who is today enjoying worldwide appreciation\n    by a new generation of piano fans.\n\u003c\/p\u003e\n\u003cp\u003e\nThis compilation opens with a live recording of    \u003cem\u003eGavottes I \u0026amp; II\u003c\/em\u003e from Bach’s \u003cem\u003eEnglish Suite No.3\u003c\/em\u003e, an\n    encore at a 1961 concert that took place shortly after Spivakovsky’s\nrelease from hospital (the same week as the Beethoven    \u003cem\u003eConcerto No.4\u003c\/em\u003e from Volume 7 and the same concert as the\n    Bach-Busoni \u003cem\u003eD Minor Concerto\u003c\/em\u003e from a future release). Jascha plays\n    with his trademark rhythmic vitality and clarity of voicing in a reading\n    that also showcases his beautiful tone and fluid phrasing.\n\u003c\/p\u003e\n\u003cp\u003e\nThe centrepiece of this disc is a stirring account of Brahms’ titanic    \u003cem\u003eSonata No.3 in F Minor\u003c\/em\u003e, a key work in Spivakovsky’s repertoire.\n    The second movement was one of his favourite works in the entire piano\n    literature, which might easily be surmised when listening to his poetic\n    reading: time stands still with his magical pacing and sumptuous phrasing.\n    The entire performance is grandly conceived, his noble approach never\n    tipping into the bombast often heard in the work, thanks to his lyrical\n    phrasing and transparent textures.\n\u003c\/p\u003e\n\u003cp\u003e\n    Unfortunately, the final moments of the last movement were missing from the\n    tape that the ABC provided the pianist of the 1953 broadcast. After much\n    deliberation as to whether issue an incomplete recording or not release it\n    at all, it was decided that Jascha’s son Michael would coach a skilled\n    student on how his father played these passages so as to complete the\n    performance - a small price to pay to be able to enjoy such a glorious\n    account of this masterpiece by this great artist.\n    \u003cbr\u003e\n    \u003cbr\u003e\n    A series of shorter works enable us to appreciate Spivakovsky’s tremendous\nversatility and masterful music-making. His account of Mendelssohn’s    \u003cem\u003eVenetian Gondola Song\u003c\/em\u003e is characterized by its fluid melodic line\nand emotive timing, while Glazunov’s rarely-played    \u003cem\u003eGavotte in D Major\u003c\/em\u003e is notable for its rhythmic buoyancy, deft\narticulation, and poised voicing. Debussy’s    \u003cem\u003eDr. Gradus ad Parnassum\u003c\/em\u003e features beautiful textures and attentive\n    shaping, while Rachmaninoff’s \u003cem\u003ePrelude in G Major\u003c\/em\u003e has a soaring\n    singing line and rich rubato. A fascinating rarity are two works by\n    Norwegian composer Harald Saeverud (the first was dedicated to Jascha) that\n    capture to perfection the pianist’s gorgeous tonal palette and masterful\n    pedal technique.\n\u003c\/p\u003e\n\u003cp\u003e\n    Kabelevsky’s \u003cem\u003eSonata No.3\u003c\/em\u003e is presented here in a mid-1950s BBC\n    broadcast (a later home recording was issued in Vol.1 of this series): this\n    magnificent interpretation is both refined and impassioned, Spivakovsky’s\n    tonal colours and subtle timing highlighting the dramatic nature of the\n    work. To close, we have Liadov’s \u003cem\u003eMusical Snuff Box\u003c\/em\u003e (with the\n    spoken announcement to this encore concert performance by Jascha himself),\n    played with glistening tonal and pedal effects - a delightful conclusion to\n    yet another revealing collection of marvellous performances by the great\n    Jascha Spivakovsky.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eMark Ainley\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: 20px;\"\u003e\u003cb\u003eSPIVAKOVSKY \u003c\/b\u003eBach to Bloch, Volume 9\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBACH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnglish Suite No. 3 in G minor, BWV 808\u003c\/span\u003e\u003cbr\u003e1. V. Gavotte I  (1:23)\u003cbr\u003e2. VI. Gavotte II (ou La  Musette) and da capo  (1:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: in concert, 1961\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Sonata No. 3 in F minor, Op. 5\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Allegro maestoso  (7:58)\u003cbr\u003e4. 2nd mvt. - Andante espressivo  (12:31)\u003cbr\u003e5. 3rd mvt. - Scherzo. Allegro energico - Trio  (4:26)\u003cbr\u003e6. 4th mvt. - Intermezzo. Andante molto  (3:26)\u003cbr\u003e7. 5th mvt. - Finale. Allegro moderato ma rubato  (8:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: ABC, 1953\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003eMENDELSSOHN \u003c\/b\u003eSongs Without Words, Op 30, No 6 - Venetian Gondola Song  (3:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: on Spivakovsky's \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eown \u003c\/span\u003eSteinway, c.1964\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e9. \u003cb\u003eGLAZUNOV \u003c\/b\u003e3 Morceaux, Op 49 - 3. Gavotte  (4:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded:ABC, c.1955\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e10. \u003cb\u003eDEBUSSY \u003c\/b\u003eChildren's Corner - 1. Dr Gradus ad Parnassum  (2:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: on Spivakovsky's \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eown \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eBlüthner, 1961|\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e11.  \u003cb\u003eRACHMANINOV  \u003c\/b\u003ePreludes Op 32 - 5. Moderato  (3:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: on Spivakovsky's \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eown \u003c\/span\u003eBlüthner, 1961\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e12. \u003cb\u003eSAEVERUD \u003c\/b\u003eLette Stykker Vol. 1, Op 14 - 7. Rondo amoroso  (3:34)\u003cbr\u003e13. \u003cb\u003eSAEVERUD \u003c\/b\u003eLette Stykker Vol. 2, Op 18 - 2. Smafulg-vals (Little Bird Waltz)  (2:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: BBC, c.1953\/4\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKABALEVSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Sonata No. 9 in F Major, Op. 46\u003c\/span\u003e\u003cbr\u003e14. 1st mvt. - Andante con moto  (5:59)\u003cbr\u003e15. 2nd mvt. - Andante cantabile  (5:19)\u003cbr\u003e16. 3rd mvt. - Allegro giocoso  (4:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: BBC, c.1953\/4\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e17. \u003cb\u003eLIADOV \u003c\/b\u003eThe Musical Snuff Box, Op. 32  (2:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: NZBC, c.1955\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJascha Spivakovsky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e© and (P) 2019 Pristine Audio \u0026amp; The Spivakovsky Jubilee \u003cbr\u003eXR remastered by Andrew Rose\u003c\/p\u003e\u003cp\u003eTotal duration: 78:09\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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16px;\"\u003eFugue for 18\r\n        Violins\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCESANA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eNegro Heaven\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGERSHWIN-BENNETT\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Porgy and Bess: A Symphonic Picture\r\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKHATCHATURIAN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eGayaneh – Ballet Suite \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eENESCU \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e2 Romanian Rhapsodies\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e4 Slavonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e3 Hungarian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 1, 'Winter Dreams'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKALINNIKOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eL’Isola Disabitata – Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 73, “La Chasse”\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSigurd Jorsalfar – Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePeer Gynt – Suite No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eCoppélia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSylvia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKHACHATURIAN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eMasquerade - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003emusic by \u003cb\u003eKreisler, Sgambati, Weber, J. Strauss II\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941-53\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eIndianapolis Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eFabien Sevitzky\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabien Sevitzky conducts the Indianapolis Symphony\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29 \nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge \nKoussevitzky’s, his original last name was the same, but later shortened\n at his uncle’s request to avoid confusion.  Like him, Sevitzky took up \nthe double bass in order to win a conservatory scholarship.  After \nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s \nPhiladelphia Orchestra in 1923.  Two years later, he organized members \nof the ensemble’s string section into the Philadelphia Chamber String \nSimfonietta.  (Their complete recordings have been reissued on Pristine \nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he \ncontinued to conduct the chamber ensemble until 1941.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky was appointed conductor of the Indianapolis Symphony \nOrchestra in 1937, a post he held until 1955.  He retired to Florida, \nwhere he became a faculty member at the University of Miami, leading the\n school’s orchestra and continuing to guest conduct internationally.  It\n was during one such appearance in Athens that Sevitzky died on 3 \nFebruary 1967.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony \nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\n were made for Capitol LPs in 1953.  The present program is the first in\n a series which aims to reissue them all, some for the first time since \ntheir initial release.  None of them have ever received an “official” CD\n reissue.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\n Overture comes on like gangbusters, showing off the exuberance and \nvirtuosity of the ensemble and conductor in sound that was \nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\n revolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\n is worth noting that Sevitzky studied under both Rimsky and Liadov at \nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\n he paints a vivid tonal characterization of the same mythical witch who\n inspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e \nSymphony was the first complete version made of the work (Albert Coates \nhad previously recorded the second movement alone), and would remain the\n only one until Toscanini’s 1949 recording, with a cut of some 100 bars \nin the finale, appeared on LP.  It is dramatically paced, with much \nexcitement in the faster sections.  However, some parts are played much \nmore slowly than we are used to.  The third movement’s “Andante con \nmoto” is here more of an “Adagio molto”; and the second movement’s trio \nis not “l’istesso tempo” as marked by Tchaikovsky, but something \nconsiderably slower.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven more curious is Sevitzky’s substitution of a snare drum \n(side drum) for the tambourine in the bacchanal which opens the fourth \nmovement.  The conductor could have interpreted the “tamb.” marked in \nthe score as referring to a “tamburo piccolo” or snare drum.  However, \nthe first page of the score spells out “tambourine”, so there should \nhave been no confusion.  Its presence here remains a mysterious \nprecedent that no other known conductor has followed.  (I am indebted to\n writer Edward Johnson for pointing this out.)\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sources for the transfers were American Victor 78 rpm \nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\n items; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This second volume of Pristine’s survey of Fabien Sevitzky’s complete\n    Indianapolis Symphony recordings couples a late Romantic Russian work with\n    the works of several American composers of (mainly) Russian extraction.\n    Sevitzky studied under Glazunov at the St. Petersburg Conservatory, and his\n    set of the suite \u003cem\u003eFrom the Middle Ages\u003c\/em\u003e was the first and only\n    complete recording of the work during the 78 rpm era. Oddly, when RCA\n    reissued the album on LP on their Bluebird label in the 1950s, the Scherzo\n    was omitted, even though the entire work could have easily fit on one side.\n    It receives its first reissue here.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sevitzky’s commitment to the music of his adopted land was second to none\n    among prominent conductors in the USA at the time, and he tried to include\n    a composition by an American composer in each of his concerts. His Victor\n    discography lists works by Roy Harris, Harl McDonald, Leo Sowerby, David\n    Van Vactor and Robert L. Sanders which remain unreleased. All of his issued\n    recordings of works by American composers are included in the present\n    program.\n\u003c\/p\u003e\n\u003cp\u003e\n    Arcady Dubensky (1890 – 1966) was a Russian-born American composer,\n    arranger and violinist, who played in the New York Symphony and New York\n    Philharmonic from 1922 to 1953. During that time, he was a prolific\n    composer whose works were recorded by Leopold Stokowski as well as\n    Sevitzky. His \u003cem\u003eFugue for 18 Violins\u003c\/em\u003e was played in Philadelphia\n    during Sevitzky’s tenure as leader of that city’s Chamber String\n    Simfonietta, and his \u003cem\u003eStephen Foster\u003c\/em\u003e was premièred by Sevitzky in\n    1941. The theme is taken from “Old Folks at Home (Swanee River)”, which in\n    the finale is joined by “Oh, Susanna” and “Beautiful Dreamer”. Like\n    Dohnanyi’s \u003cem\u003eVariations on a Nursery Tune\u003c\/em\u003e, some of the variations\n    are done in the style of other composers (Richard Strauss, Tchaikovsky, et\n    al.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Otto Cesana (1899 – 1980) was a composer, conductor, jazz musician and\n    arranger who emigrated from Italy to the United States as a child, and was\n    later to lead a series of “easy listening” LPs in the 1950s. The\n    unfortunate title of his tone poem has guaranteed that it will never be\n    revived, which is a pity, given that the work itself is tuneful and\n    exuberant. Cesana wrote that his intent in the work was to illustrate the\n    changing moods of the African-American man, “now gay, now sad, always\n    however migrating toward carefreeness and abandon.”\n\u003c\/p\u003e\n\u003cp\u003e\nGeorge Gershwin had arranged his own suite from his opera,    \u003cem\u003ePorgy and Bess\u003c\/em\u003e, but it was little-performed when conductor Fritz\n    Reiner commissioned American arranger Robert Russell Bennett to produce the\n    “symphonic picture” heard here. Reiner chose the excerpts, suggested their\n    order and even some of the key transpositions. Although Alfred Wallenstein\n    recorded a cut version in 1944, Sevitzky became the first conductor to\n    record it complete, beating Reiner’s Pittsburgh set by seven weeks.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like Sevitzky’s substitution of the snare drum for the tambourine in the\n    last movement of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc479\" target=\"_blank\"\u003ePASC    479\u003c\/a\u003e), there is another odd-sounding replacement here, as a bassoon “sings”\n    Porgy’s part in “I got plenty o’ nuttin”, rather than the customary banjo.\n    (Where was the banjoist from the Dubensky \u003cem\u003eStephen Foster\u003c\/em\u003e finale?)\n    Nonetheless, Sevitzky gives a highly idiomatic performance, as he did with\n    the other American music presented here.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release brings together several works inspired by folk dances\n    of various European and Asian peoples, in some of the earliest and latest\n    recordings made by the Indianapolis Symphony under Fabien Sevitzky. The\n    Brahms disc has not been reissued since its original 78 rpm release, while\n    the remaining recordings, first released on LP, have not been available for\n    over half a century.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Brahms Hungarian Dances date from 1942, a year after Sevitzky began\n    recording in Indianapolis for the Victor label. No orchestrator credits\n    were given on the original disc, but comparisons reveal them to be Brahms’\n    own transcriptions for Nos. 1 and 3 and Martin Schmeling’s transposed\n    arrangement for No. 7, with some emendations, most likely by the conductor\n    himself (\u003cem\u003ee.g.\u003c\/em\u003e the solo celesta ending for No. 3). The performances\n    have a tremendous verve and swagger which seems to leap off the grooves.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sevitzky made his final recordings for Victor in 1946, although some were\n    not first released until 1949. In 1953, the fledgling Capitol label signed\n    Sevitzky and the orchestra to record the Dvořák, Enescu and Khatchaturian\n    works on our program, along with the latter’s \u003cem\u003eMasquerade\u003c\/em\u003e Suite\n    (which will be included on a future volume in this series). Capitol’s\n    engineering philosophy was markedly different from that which Sevitzky had\n    been given by Victor, with the new label favoring a brilliant sound\n    emphasizing the wider frequency range now allowed by tape-based recording,\n    but with less depth to the bass and what sounds like the addition of\n    artificial reverberation.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Dvořák dances are in the same fiery vein as the Brahms from a decade\n    earlier; while in the First Romanian Rhapsody, Sevitzky holds back the\n    faster tempos until later than some other conductors in order to maximize\n    their impact toward the end. For the Khatchaturian, whose score includes\n    Armenian folk melodies and Kurdish, Georgian and Ukrainian dances, Sevitzky\n    rearranged the order of the eight movements of the first ballet suite,\n    which at the time had placed the ubiquitous “Sabre Dance” at the beginning.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Capitol recordings were to be the last Sevitzky made, as he left the\n    orchestra in 1955. He continued to teach and guest conduct until his death\n    in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    With this fourth volume in our series of the complete recordings of Fabien\n    Sevitzky and the Indianapolis Symphony Orchestra, we return to the Romantic\n    Russian repertoire for which he was particularly esteemed. Our focus here\n    is on two First Symphonies, both in G minor, separated in composition by\n    nearly three decades. For one composer, it was the start of a brilliant\n    career as a symphonist; while for the other, it was a success not to be\n    duplicated during the remainder of his short life.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovsky began work on his first symphony in March of 1866, shortly\n    before his twenty-sixth birthday. It quickly became a trial for him due to\n    his desire to earn the approval of two of his teachers, Anton Rubinstein\n    and Nikolai Zaremba, musical conservatives whose ideals were centered on\n    Classical and early Romantic-era German models. They insisted on changes\n    before they would agree to a performance. The composer obliged, and the two\n    middle movements were presented in St. Petersburg in February of the\n    following year to little acclaim.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovsky then went back, for the most part, to his original version,\n    which his friend Nikolai Rubinstein (Anton’s brother) was eager to perform.\n    The Scherzo alone was played at a Moscow concert in December of 1867, again\n    without much success. It was not until a complete performance the following\n    February that audiences finally warmed to the work. Tchaikovsky would go on\n    to revise the score in 1874, and would ultimately look back on this early\n    composition with great pride. (In this recording, Sevitzky performs the\n    last two movements without a pause.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Vasily Kalinnikov was born in 1866, the same year that Tchaikovsky’s First\n    Symphony was written. He had worked as a choral conductor and an\n    instrumentalist in theater orchestras when Tchaikovsky himself recommended\n    him for two opera house conducting posts in 1892. Kalinnikov’s worsening\n    tuberculosis caused him to resign after a short while in order to move to\n    the more hospitable climate of Yalta on the Baltic Sea. He spent the rest\n    of his life there composing before his death in 1901, shortly before his\n    thirty-fifth birthday. His First Symphony, which dates from this period,\n    was premièred in Kiev in 1897 and quickly traveled to the musical capitals\n    of the world. It remains the work by which he is best known.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like his recording of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (reissued on\n    Volume 1 of this series, \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-fabien-sevitzky\/products\/pasc479\" target=\"_blank\"\u003ePristine PASC 479\u003c\/a\u003e), the present works were\n    phonographic premières, and Sevitzky presents both colorful scores with\n    great enthusiasm and obvious affection. The sources for the transfers were\n    first edition American Victor pressings – postwar discs for the\n    Tchaikovsky, and wartime “silver” label copies for the Kalinnikov.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    For this fifth and penultimate volume in our series of Fabien Sevitzky’s\n    complete recordings with the Indianapolis Symphony, we present all the\n    repertoire by Haydn and Grieg the conductor set down on disc with this\n    ensemble.\n\u003c\/p\u003e\n\u003cp\u003e\n    Haydn’s opera, \u003cem\u003eL’isola disabitata\u003c\/em\u003e (The Uninhabited Island) was\n    long known only by its overture, as the complete opera did not see print\n    until 1976. Sevitzky’s performance emphasizes the extremes of uneasy repose\n    and violent agitation in the music, in an intense performance that calls to\n    mind the final movement of “Winter” in Vivaldi’s \u003cem\u003eFour Seasons\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    Haydn had previously used the final movement of his Symphony No. 73 as the\n    overture to his opera, \u003cem\u003eLa fedeltà premiata\u003c\/em\u003e (Fidelity Rewarded).\n    This in turn utilized a hunting theme that had figured in earlier works by\n    other composers, and thus the symphony gained the appellation “La chasse”\n    (the hunt). Sevitzky brings an energy and momentum to his reading that\n    belies the big orchestra approach of the time.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like the better-known \u003cem\u003ePeer Gynt\u003c\/em\u003e, Grieg’s \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e\n    was written as incidental music to accompany a play, this one by Bjørnson\n    concerning King Sigurd I of Norway. Of the nine numbers he wrote, Grieg\n    chose three to organize into a concert suite. Sevitzky’s recording on a\n    single disc pairs only the first two excerpts, with the last (the “Homage\n    March”) left unrecorded.\n\u003c\/p\u003e\n\u003cp\u003e\nThe second suite of music Grieg had written to accompany Ibsen’s    \u003cem\u003ePeer Gynt\u003c\/em\u003e is the lesser-performed of the two the composer\n    arranged, even though it contains the lovely and popular “Solvejg’s Song”.\n    When this was recorded in the 1940s, the Victor label sometimes divided\n    works which would seem to go together naturally between two orchestras and\n    conductors. For example, Ormandy and the Philadelphia got to record\n    Enescu’s Romanian Rhapsody No. 1 while Hans Kindler and the National\n    Symphony did the honors for No. 2. Similarly, Eugene Goossens and the\n    Cincinnati Symphony set down on disc the first \u003cem\u003ePeer Gynt\u003c\/em\u003e suite,\n    with Sevitzky allotted the second. Sevitzky makes the most of the varied\n    moods of the four movements, aided by what was superb engineering for its\n    day, with the “Arabian Dance” a particular standout.\n\u003c\/p\u003e\n\u003cp\u003e\n    Recording activities largely halted during the Petrillo Ban (a musician’s\n    union action) from 1942 through 1944. When sessions resumed, Victor began\n    recording with a noticeable amount of compression, giving the sense (to\n    paraphrase critic Rob Cowan’s description) of a sound so massive the\n    grooves could scarcely contain it. While this approach gives a great deal\n    of presence to Grieg’s four \u003cem\u003eSymphonic Dances\u003c\/em\u003e, it also makes the\n    sound a bit unrealistic, as well as relentlessly aggressive. Still,\n    Sevitzky’s winning way with colorful, dance-based compositions carries the\n    day in these works inspired by Ludvig Mathias Lindeman’s collections of\n    Norwegian folk tunes.\n\u003c\/p\u003e\n\u003cp\u003e\nThe sources for these transfers were wartime 78 rpm shellac discs for\u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e and \u003cem\u003ePeer Gynt\u003c\/em\u003e; postwar shellacs for    \u003cem\u003eL’isola disabitata\u003c\/em\u003e and the \u003cem\u003eSymphonic Dances\u003c\/em\u003e; and 45 rpm\n    vinyls dubbed from Victor lacquer backup masters for the Haydn 73rd. None\n    of the works have ever seen an “official” CD reissue, and the Haydn\n    overture and \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e excerpts have not even previously\n    appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    For this final volume in our series of Fabien Sevitzky’s complete\n    recordings with the Indianapolis Symphony, we present a program largely\n    devoted to dance music (three ballet suites, a minuet and two waltzes).\n    None of the works have ever received an “official” CD release, and the\n    Kreisler, Sgambati, Weber and Strauss pieces never even appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n    Our program begins with two works featuring Romantic era composers dabbling\n    in the forms of earlier times. Fritz Kreisler wrote a number of pieces for\n    violin in Baroque and early Classical styles, ascribing them to then\n    little-known composers such as Gaetano Pugnani. When his hoax was revealed\n    in 1935, some critics who had been taken in were apoplectic. Nonetheless,\nsome of the pieces have stayed in the repertoire, including his 1905    \u003cem\u003ePraeludium and Allegro\u003c\/em\u003e, which Sevitzky transcribed for full\n    orchestra in much the same “big band” manner that his conducting\n    contemporaries like Stokowski, Henry Wood and Barbirolli were then using to\n    orchestrate Bach, Handel and Purcell.\n\u003c\/p\u003e\n\u003cp\u003e\n    Giovanni Sgambati wrote his \u003cem\u003eVecchio Minuetto\u003c\/em\u003e in 1885 for solo\n    piano, looking back to the 18th Century dance that Haydn and Mozart\n    incorporated into many of their orchestral works. Appropriately, Sevitzky’s\n    performance was originally issued as the filler side to his recording of\n    Haydn’s Symphony No. 73 (reissued on Pristine \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc650\" target=\"_blank\"\u003ePASC 650\u003c\/a\u003e\u003c\/i\u003e). Both this and the\n    next work, a Weber waltz, were orchestrated by Russian-American composer\n    Arcady Dubensky, who in the latter case took Weber’s original piano solo in\n    B-flat and transcribed it in D. Sevitzky recorded several of Dubensky’s\n    compositions, both with the Indianapolis Symphony (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc509\" target=\"_blank\"\u003ePASC 509\u003c\/a\u003e\u003c\/i\u003e) and earlier\n    with his Philadelphia Chamber String Simfonietta (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc375\" target=\"_blank\"\u003ePASC 375\u003c\/a\u003e\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Could it be a coincidence that the only Johann Strauss waltz that Sevitzky\n    ever recorded, \u003cem\u003eFr\u003c\/em\u003e\u003cem\u003eü\u003c\/em\u003e\u003cem\u003ehlingsstimmen\u003c\/em\u003e, was also one of\n    only two that his more famous uncle Serge Koussevitzky had set down 13\n    years earlier for the same label? In the event, Sevitzky proves himself to\n    be an entirely idiomatic interpreter, even though he had to drop a repeated\n    phrase and speed up a bit toward the end to get his reading to fit onto one\n    78 rpm side. It is a performance to make one wish he had recorded more of\n    this repertoire.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Delibes ballet suites were recorded at Sevitzky’s last session for\n    Victor in 1946, although they were kept “in the can” for three years before\n    being issued. In transferring these from their original LP issue (LM-1032,\nreleased in 1950), I was surprised to find that the “Czardas” from\u003cem\u003e Copp\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003elia\u003c\/em\u003e had been moved to the beginning of the    \u003cem\u003eSylvia\u003c\/em\u003e Suite. Evidently, no one noticed the mistake, and it was\n    never corrected during the disc’s relatively brief life in the catalog\n    before it was replaced by a Monteux\/Boston LP featuring the same suites in\n    a somewhat different selection and ordering of excerpts. (Its position has\n    been corrected here.)\n\u003c\/p\u003e\n\u003cp\u003e\n    The Khachaturian was one of only two LPs Sevitzky taped for Capitol at his\n    final recording sessions in 1953. Two years later, he left the Indianapolis\n    Symphony to teach at the University of Miami and guest conduct\n    internationally. During one such appearance, he died in Athens in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n    According to the Sevitzky\/Indianapolis discography compiled by Frederick P.\n    Fellers, of the 43 titles which Sevitzky recorded with the Indianapolis\n    Symphony, no fewer than 12 were never issued. Most of these works were by\n    American composers, whom Sevitzky particularly championed by including one\n    on every program he conducted; but there were others by Bach, Berlioz,\n    Mozart and Verdi which were bypassed for release, as well. It is hoped that\n    someday, these will join the works on the six CDs of the present series,\n    and expand the known performances of this dynamic conductor.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eGLINKA:  \u003cem\u003eRusslan and Ludmilla\u003c\/em\u003e – Overture \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 8 January 1941 \u003cbr\u003eMatrix No. CS 057573-2 \u003cbr\u003eVictor 17731\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eRIMSKY-KORSAKOV:  \u003cem\u003eDubinushka\u003c\/em\u003e, Op. 69\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 7 January 1941\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix No. CS 057574-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eLIADOV: \u003cem\u003eBaba Yaga\u003c\/em\u003e, Op. 56\u003c\/b\u003e \u003cbr\u003e Recorded 9 February 1945 \u003cbr\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003c\/b\u003e                                                    Recorded 19 March 1946\u003cbr\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  \u003cem\u003eManfred\u003c\/em\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded 27-28 January 1942\u003cbr\u003eMatrix Nos. CS 071331-1, \n071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1, \n071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eIndianapolis Symphony Orchestra  ∙  Fabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGLAZUNOV: From the Middle Ages – Suite, Op. 79\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Prelude (7:18)\u003cbr\u003e2. Scherzo (4:02)\u003cbr\u003e3. Serenade of the Troubadour (4:18)\u003cbr\u003e4. The Crusaders (9:12)\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 and 9 February 1945\u003cbr\u003eMatrix nos.: D5-RC-800-2, 801-1, 802-1, 803-2A , 804-2 , 805-2\u003cbr\u003eFirst issued on RCA Victor 12-0328\/30 in album M-1222\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 17px;\"\u003e5. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Fugue for 18 Violins\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003e \u003c\/span\u003e(4:25)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 29 January 1942\u003cbr\u003eMatrix no.: CS 071362-1\u003cbr\u003eFirst issued on Victor 11-8366 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 17px;\"\u003e6. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Stephen Foster – Theme, Variations and Finale\u003c\/span\u003e\u003c\/strong\u003e\n    (12:16)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eLeon Zawisza, \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003eRecorded 28 and 29 January 1942\n\n\u003cp\u003e\n    Matrix nos.: CS 071351-2, 071352-1 and 071353-1\u003cbr\u003eFirst issued on Victor 11-8365\/6 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 17px;\"\u003e7. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eCESANA: Negro Heaven\u003c\/span\u003e\u003c\/strong\u003e (7:52)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 January 1941\u003cbr\u003eMatrix nos.: CS 05786-1A and 05787-1A\u003cbr\u003eFirst issued on Victor 18070\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 17px;\"\u003e8. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGERSHWIN-BENNETT: Porgy and Bess: A Symphonic Picture\u003c\/span\u003e\u003c\/strong\u003e\n    (19:46)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 February 1945\u003cbr\u003eMatrix nos.: D5-RC-811-1A, 812-1A, 813-1, 814-1A, 815-1 and 816-1\u003cbr\u003eFirst issued on RCA Victor 11-8789\/91 in album M-999\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\n    providing source material\n\u003c\/p\u003e\n\u003cp\u003e\n    All works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 69:11\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003cstrong\u003eBRAHMS Hungarian Dances, WoO 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1 No. 1 in G minor (3:41)\n\u003c\/p\u003e\n\u003cp\u003e\n    2 No. 3 in F major (2:34)\n\u003c\/p\u003e\n\u003cp\u003e\n    3 No. 7 in A major (F major for orchestral version) (1:26)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eDVOŘÁK Slavonic Dances, Op. 46\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    4 No. 8 in G minor (3:55)\n\u003c\/p\u003e\n\u003cp\u003e\n    5 No. 2 in E minor (4:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    6 No. 4 in F major (7:11)\n\u003c\/p\u003e\n\u003cp\u003e\n    7 No. 1 in C major (3:32)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eENESCU Romanian Rhapsodies, Op. 11\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8 No. 1 in A major (11:44)\n\u003c\/p\u003e\n\u003cp\u003e\n    9 No. 2 in D major (10:51)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eKHATCHATURIAN Gayaneh – Ballet Suite\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    10 Introduction and Dance of the Rose Maidens (4:44)\n\u003c\/p\u003e\n\u003cp\u003e\n    11 Awakening and Dance of Aysha (6:57)\n\u003c\/p\u003e\n\u003cp\u003e\n    12 Dance of the Mountaineers (1:39)\n\u003c\/p\u003e\n\u003cp\u003e\n    13 Lullaby (5:17)\n\u003c\/p\u003e\n\u003cp\u003e\n    14 Sabre Dance (2:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    15 Armen’s Variation (1:51)\n\u003c\/p\u003e\n\u003cp\u003e\n    16 Dance of the Young Kurds (3:26)\n\u003c\/p\u003e\n\u003cp\u003e\n    17 Lezghinka (3:12)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eFabien Sevitzky ∙ Indianapolis Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003eArtwork based on a photograph of Fabien Sevitzky\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Brahms recorded 29 January 1942 on matrices CS 071357-1 and 071358-2. First\n    issued on Victor 11-8223.\n\u003c\/p\u003e\n\u003cp\u003e\n    Dvořák, Enescu and Khatchaturian recorded on 22 – 23 January 1953 and first\n    issued on Capitol H-8211 (Dvořák), H-8210 (Enescu) and P-8223\n    (Khatchaturian).\n\u003c\/p\u003e\n\u003cp\u003e\n    All recordings made in the Murat Theatre, Indianapolis.\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing 78:57\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eFABIEN SEVITZKY and the INDIANAPOLIS SYMPHONY, Volume 4\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cstrong\u003eVictor Studio Recordings ∙ 1941 \u0026amp; 1946\u003c\/strong\u003e\n\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTCHAIKOVSKY Symphony No. 1 in G minor, Op. 13 “Winter Dreams” (1866)\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro tranquillo (“Dreams of a Winter Journey”) (11:13)\u003cbr\u003e2. 2nd Mvt.: Adagio cantabile ma non tanto (“Land of Desolation, Land of\n    Mists”) (10:29)\u003cbr\u003e3. 3rd Mvt.: Scherzo: Allegro scherzando giocoso (6:13)\u003cbr\u003e4. 4th Mvt.: Finale: Andante lugubre – Allegro maestoso (11:54)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 March 1946\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eMatrix nos.: D6-RC-5250-2A, 5251-2, 5252-1C, 5253-1, 5254-2, 5255-1C,\n    5256-2A, 5257-2C \u0026amp; 5258-2\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eFirst issued on RCA Victor 12-0040\/4 in album M-1189\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKALINNIKOV: Symphony No. 1 in G minor (1894-95)\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro moderato (9:40)\u003cbr\u003e6. 2nd Mvt.: Andante commodamente (8:52)\u003cbr\u003e7. 3rd Mvt.: Scherzo: Allegro non troppo – Moderato assai (7:32)\u003cbr\u003e8. 4th Mvt.: Finale: Allegro moderato (9:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 \u0026amp; 8 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 057576-1, 057577-1A, 057578-1, 057579-2, 057580-1,\n    057581-2, 057582-1 \u0026amp; 057583-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 18187\/90 in album M-827\n\u003c\/span\u003e\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 75:20\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eHAYDN L’isola disabitata, Hob. XXVIII:9 – Overture \u003c\/strong\u003e\n    (7:55)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 29 January 1942 ∙ Matrices: CS 071360-1 \u0026amp; 071361-1 ∙ First\n    issued on Victor 11-8487\n\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eHAYDN Symphony No. 73 in D major, Hob. I:73 “La chasse”\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Adagio – Allegro (5:13)\u003cbr\u003e3. 2nd Mvt.: Andante (6:18)\u003cbr\u003e4. 3rd Mvt.: Menuetto (3:01)\u003cbr\u003e5. 4th Mvt.: Presto (3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 February 1945 ∙ Matrices: D5-RC-806-1B, 807-1A, 808-1, 809-1A\n    \u0026amp; 810-2A ∙ First issued on RCA Victor 12-0952\/4 in album M-1312\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eGRIEG Sigurd Jorsalfar – Suite, Op. 56\u003c\/strong\u003e\u003cbr\u003e6. Prelude (In the King’s Hall) (4:04)\u003cbr\u003e7. Intermezzo (Borghild’s Dream) (4:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrices: CS 057584-3A \u0026amp; 057585-2A ∙ First\n    issued on Victor 18291\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eGRIEG Peer Gynt – Suite No. 2 , Op. 55\u003c\/strong\u003e\u003cbr\u003e8. Ingrid’s Lament (4:11)\u003cbr\u003e9. Arabian Dance (4:50)\u003cbr\u003e10. Return of Peer Gynt (2:30)\u003cbr\u003e11. Solvejg’s Song (5:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 January 1942 ∙ Matrices: CS 071347-1, 071348-1, 071349-1 \u0026amp;\n    071350-1 ∙ First issued on Victor 11-8163\/4 in album M-902\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eGRIEG Symphonic Dances, Op. 64\u003c\/strong\u003e\u003cbr\u003e12. No. 1 in G major – Allegro moderato e marcato (4:51)\u003cbr\u003e13. No. 2 in A major – Allegretto grazioso (4:42)\u003cbr\u003e14. No. 3 in D major – Allegro giocoso (4:49)\u003cbr\u003e15. No. 4 in A minor – Andante – Allegro molto e risoluto (8:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrices: D5-RC-817-1, 818-1A, 819-1, 820-2\n    \u0026amp; 821-1 ∙ First issued on RCA Victor 11-9245\/7 in album M-1066\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 73:28\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 6\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1.\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eKREISLER (orch. Sevitzky) Praeludium and Allegro (in the Style of\n        Pugnani)\u003c\/span\u003e\n    \u003c\/strong\u003e\n    (6:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 January 1942 ∙ Matrices: CS 071328-1 \u0026amp; 071329-2 ∙ First\n    issued on Victor 11-8439\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSGAMBATI (orch. Dubensky) Vecchio Minuetto\u003c\/span\u003e \u003c\/strong\u003e(4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrix: D5-RC-825-1 ∙ First issued on Victor\n    12-0954 in album M-1312\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e3.    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER (orch. Dubensky) Waltz (No. 5 from Favoritenwalzer)\u003c\/span\u003e \u003c\/strong\u003e\n    (2:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057596-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II Voices of Spring (\u003c\/span\u003e\u003ca name=\"OLE_LINK6\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFr\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eü\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003ehlingsstimmen\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e) – Waltz, Op. 410\u003c\/span\u003e \u003c\/strong\u003e(5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057590-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\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;\"\u003eDELIBES Copp\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eélia – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thème slave varié (5:07)\u003cbr\u003e6. Danse fête (1:21)\u003cbr\u003e7. Valse des heures (3:33)\u003cbr\u003e8. Nocturne (3:09)\u003cbr\u003e9. Danse des automates et Valse (4:55)\u003cbr\u003e10. Czardas (3:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5260-2A, 5261-1, 5262-1A, 5263-1A,\n    5264-2A \u0026amp; 5265-1 ∙ First issued on RCA Victor 12-0909\/11 in album\n    M-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\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;\"\u003eDELIBES Sylvia\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e11. Prélude et Les Chasseresses (4:30)\u003cbr\u003e12. Intermezzo et Valse lente (2:53)\u003cbr\u003e13. Pizzicati (1:48)\u003cbr\u003e14. Cortège de Bacchus (5:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5266-2, 5267-2A, 5268-1 \u0026amp;\n    5269-1 ∙ First issued on RCA Victor 12-0912\/13 in album M-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\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;\"\u003eKHACHATURIAN Masquerade – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e15. Waltz (4:12)\u003cbr\u003e16. Nocturne (4:18)\u003cbr\u003e17. Mazurka (2:18)\u003cbr\u003e18. Romance (3:27)\u003cbr\u003e19. \u003ca name=\"OLE_LINK2\"\u003eGalop\u003c\/a\u003e (2:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 January 1953 ∙ First issued on Capitol P-8223\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003ca name=\"OLE_LINK5\"\u003e\n        \u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca name=\"OLE_LINK5\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/a\u003e\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\n    providing source material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eTotal Timing: 71:43\n\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":40425144844349,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205518803278,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC680.jpg?v=1769530008"},{"product_id":"pabx040-cd","title":"SEVITZKY and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53) - PABX040 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":40425143304253,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC680_ad38cef7-f350-4482-81be-25eead22deb9.jpg?v=1670862102"},{"product_id":"pabx050","title":"FREDERICK STOCK and the Chicago Symphony, Vols. 1-6 (1930-41) - PABX050","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size:18px;\"\u003e\r\n\u003cb\u003eBACH\u003c\/b\u003e Prelude and Fugue in E-flat, “St. Anne”\u003cbr\u003e\r\n\u003cb\u003eBACH\u003c\/b\u003e Toccata and Fugue in D minor\u003cbr\u003e\r\n\u003cb\u003eBENJAMIN\u003c\/b\u003e Overture to an Italian Comedy\u003cbr\u003e\r\n\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Quartet No. 1\u003cbr\u003e\r\n\u003cb\u003eCHAUSSON\u003c\/b\u003e Symphony in B-flat\u003cbr\u003e\r\n\u003cb\u003eDVOŘÁK\u003c\/b\u003e Carnival Overture\u003cbr\u003e\r\n\u003cb\u003eDVOŘÁK\u003c\/b\u003e In Nature’s Realm\u003cbr\u003e\r\n\u003cb\u003eELGAR\u003c\/b\u003e Enigma Variations\u003cbr\u003e\r\n\u003cb\u003eGLAZUNOV\u003c\/b\u003e The Seasons\u003cbr\u003e\r\n\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Ludmila - \u003ci\u003eOverture\u003c\/i\u003e\u003cbr\u003e\r\n\u003cb\u003eGOLDMARK\u003c\/b\u003e Rustic Wedding Symphony\u003cbr\u003e\r\n\u003cb\u003eGRIEG\u003c\/b\u003e Peer Gynt excerpts\u003cbr\u003e\r\n\u003cb\u003eMENDELSSOHN\u003c\/b\u003e A Midsummer Night’s Dream excerpts\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also Sprach Zarathustra\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Aus Italien - On the Shores of Sorrento\u003cbr\u003e\r\n\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Danse macabre\u003cbr\u003e\r\n\u003cb\u003eSMETANA\u003c\/b\u003e The Bartered Bride - \u003ci\u003eOverture\u003c\/i\u003e\u003cbr\u003e\r\n\u003cb\u003eSTOCK\u003c\/b\u003e Symphonic Waltz\u003cbr\u003e\r\n\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e 1812 Overture\u003cbr\u003e\r\n\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Marche slave\u003cbr\u003e\r\n\u003cb\u003eWAGNER\u003c\/b\u003e Siegfried - Forest Murmurs\u003cbr\u003e\r\n\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger - \u003ci\u003ePrelude\u003c\/i\u003e\r\n\u003c\/p\u003e\r\n\r\n\u003cp style=\"font-size:16px;\"\u003e\r\n\u003cb\u003eplus music by:\u003c\/b\u003e Bizet, Carey, Dohnányi, Enescu, François Schubert, Glière, Handel, Ippolitov-Ivanov, J. Strauss II, Järnefelt, Liadov, MacDowell, Meacham, Mozart, Paganini, Ponchielli, Rezniček, Rimsky-Korsakov, Schubert, Schumann, Sibelius, Simonetti, Suk, Suppé, Thomas, Toch, Volkmann, Walton, Weber and Wolf-Ferrari\r\n\u003c\/p\u003e\r\n\r\n\u003cp style=\"font-size:12px;\"\u003e\r\nStudio recordings, 1930-1941\r\n\u003c\/p\u003e\r\n\r\n\u003cp style=\"font-size:16px;\"\u003e\r\nChicago Symphony Orchestra\u003cbr\u003e\r\nconducted by \u003cb\u003eFrederick Stock\u003c\/b\u003e\r\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC771.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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This release is the first in a series devoted to longtime Chicago Symphony\n    Orchestra music director Frederick Stock, and celebrates the 150th\n    anniversary of his birth. All of Stock’s symphonic recordings will be\n    featured in upcoming volumes (his four concerto recordings have already\n    been well-covered on CD reissues), presented in the order in which they\n    were recorded. Many items have not been available since the 78 rpm era. In\n    this volume, all of the acoustics except for the Mendelssohn are being\n    reissued for the first time, as are the electrics of the Dvořák and Thomas\n    overtures and two Strauss waltzes.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock was born in Jülich, Germany, on 11 November 1872. His father, an army\n    bandmaster, provided his early musical training. He entered Cologne\n    Conservatory at the age of fourteen studying violin and composition; among\n    his teachers was Humperdinck, and Willem Mengelberg was a classmate. Upon\n    his graduation in 1890, he joined the Municipal Orchestra of Cologne as a\n    violinist. Five years later, he auditioned for the visiting Theodore\n    Thomas, who was recruiting players for his four-year-old Chicago Orchestra.\n    Thomas hired him initially as a violist, but within four years he\n    recognized Stock’s conducting talent and made him his assistant.\n\u003c\/p\u003e\n\u003cp\u003e\n    When Thomas died suddenly in January, 1905, Stock served as interim music\n    director while the orchestra board attempted to secure the services of such\n    well-known European conductors as Weingartner, Richter and Mottl. When the\n    board’s efforts failed, Stock was appointed for a trial year. He was to\n    remain music director until his death thirty-seven years later (20 October\n    1942), a record surpassed among major American orchestras only by Ormandy’s\n    tenure with the Philadelphia, and by few other conductor\/orchestra\n    combinations throughout the world (Mengelberg\/Concertgebouw,\n    Mravinsky\/Leningrad).\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock’s recording career divides neatly into three periods. His Columbia\n    acoustics of 1916-17 (the first recordings made by a credited American\n    orchestra under its own music director) were succeeded, after an eight-year\n    hiatus, by a series of electrical recordings for Victor (1925-30) which\n    included Bach’s B Minor Suite, a Mozart 40th, Schumann’s “Spring” Symphony\n    and Tchaikovsky’s Fifth. After another nine-year absence from the\n    microphone, Stock and the Chicago Symphony rejoined Columbia for two\n    seasons (1939-40 and 1940-41) for an extensive string of recordings\n    including a Mozart “Prague”, the Schubert 9th, the Schumann Fourth, Brahms’\n    Third and \u003cem\u003eTragic\u003c\/em\u003e Overture, Tchaikovsky’s \u003cem\u003eNutcracker\u003c\/em\u003e\n    Suite, Strauss’ \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e and numerous short\n    “popular” works, as well as concerto recordings with Milstein and\n    Piatigorsky. Returning to Victor for what turned out to be his final full\n    season with the orchestra (1941-42), he made two much-admired Beethoven\nconcerto recordings with Schnabel, as well as Dvořák’s    \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e and the Chausson Symphony.\n\u003c\/p\u003e\n\u003cp\u003e\n    The acoustics and early electrics presented in this volume benefit from the\n    lack of re-scoring typical of other recordings of the era, in which tubas\n    reinforced the bass line and other instruments that “projected” better were\n    substituted for the original choices. Only the \u003cem\u003eParsifal\u003c\/em\u003e excerpt\n    seems to be notably lacking in tympani support, which is nonetheless heard\n    elsewhere among the acoustics. The sound on these reveals a reduced\n    ensemble in small venues; yet the well-disciplined playing of the orchestra\n    is apparent even in the earliest recordings. By the time of their first\n    sessions with the full ensemble in the rather over-reverberantly recorded\n    Orchestra Hall, the Chicago Symphony’s stature among the world’s great\n    ensembles has been firmly established, as has their conductor’s\n    rhythmically flexible and vital interpretive approach.\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the transfers were American Columbia “Tri-Color” label\n    pressings for the acoustics, and mainly “Z” and “Gold” label Victor\n    pressings for the electrics except for the Brahms, which came from a vinyl\n    test pressing. The second side of the Thomas overture and the Handel and\n    Elgar recordings were dubbed very early on in order to prevent blasting on\n    the heavy pickups of the day. These are presented here from undubbed first\n    edition “Orthophonic” pressings, which, though somewhat heavier in surface\n    noise, better preserve the immediacy and dynamic range of the original\n    recordings.\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 2 (1925-1929) - PASC684\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This release is the second in a series devoted to longtime Chicago Symphony\n    Orchestra music director Frederick Stock, inaugurated to celebrate the\n    150th anniversary of his birth in 1872. All of Stock’s symphonic recordings\n    will be featured in upcoming volumes (his four concerto recordings have\n    already been well-covered on CD reissues), presented for the most part in\n    the order in which they were recorded. Several items have not been\n    available since the 78-rpm era (here, the Dvořák, Glinka, Glazunov and\n    Smetana works). The Strauss waltz is making its CD\/digital debut, while the\n    1925 recording of the Suk is being released for the first time.\n\u003c\/p\u003e\n\u003cp\u003e\n    We depart from our chronological presentation for our opening two\n    selections. The Bach was recorded immediately after the Glinka; but as the\n    only Baroque-era item on our program, it seemed to fit better as the\n    opening number. Stock’s approach, though still using a large orchestra with\n    modern instruments, anticipates later “HIP” trends toward swifter tempi,\n    and diverges from the more monumental contemporaneous Bach recordings of\n    Mengelberg in the same score (in Pristine PASC 595) and Stokowski in the\n    Brandenburg Second (although the mad dash through the Bourées sounds as\n    though it was at least partially dictated by side length restrictions).\n\u003c\/p\u003e\n\u003cp\u003e\n    Following this is a rarity: the first publication of an unissued recording\n    by Stock and the CSO. During their December, 1925 sessions, this Intermezzo\n    from Josef Suk’s \u003cem\u003eFairy Tale\u003c\/em\u003e Suite was recorded on a 10-inch side\n    with a reduced orchestra in a small venue. No coupling for it was taken\n    down at the time, so it was not immediately released. A year to the day\n    later, the piece was re-recorded in Symphony Hall with the full orchestra\n    on a 12-inch side, and the earlier version was forgotten. It did not\n    surface in time to be included in its proper place in our previous volume\n    (but better 98 years late than never!) Hearing it next to its remake allows\n    us to appreciate the advancement that electrical recording techniques had\n    made in just one year.\n\u003c\/p\u003e\n\u003cp\u003e\n    Perhaps because of the over-reverberant acoustics of Orchestra Hall in the\n    1926 recordings, sessions for the following two years were moved to the\n    smaller Goodman Theatre. The orchestra’s entire recording schedule for 1927\n    was devoted to a single work: the Tchaikovsky Fifth Symphony. The resulting\n    album, though tonally full and detailed, was problematic, due to the\n    frequent “gain-riding” of the recording engineer, which resulted in sudden\n    volume changes throughout each side. (I have attempted to undo these\n    manipulations in the present transfer.) Additionally, shortly after the\n    album was released, the first side of the last movement was dubbed to avoid\n    blasting when played using the heavy pickups of the day. An undubbed\n    original Orthophonic pressing of this side was used here, while the rest of\n    the sides came from quieter “Gold”-era pressings from the set’s reissue on\n    Victor’s budget “Black Label” series (album G-4). (The \u003ci\u003eLuftpause \u003c\/i\u003eheard at 3:58 in the first movement is not a side-join error, but rather an interpretive mannerism Stock intended, as he repeats it in the middle of a side later on at 9:48.)\u003c\/p\u003e\n\u003cp\u003e\n    At a time when not all of the Beethoven and Brahms symphonies were yet\n    represented in the Victor catalog, it was an adventurous choice to record\n    Dohnányi’s 1909 Suite in F-sharp, a work whose wide range (from a Brahmsian\n    set of variations to a bravura, castanet-accompanied finale) seems to fit\n    Stock and his ensemble to a “T”. The Wagner arrangement was made by\n    Theodore Thomas, the Chicago Symphony's founder and Stock's predecessor as\n    principal conductor. The Schumann Symphony was the only Stock\/Chicago\n    recording here to gain an “official” CD release on RCA, although that was\n    marred by a notably sharp transfer (A4=450). The corrected speed here\n    allows us to appreciate the performance in a less-hectic aspect than\n    previously presented.\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 3 (1929-1930) - PASC699\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\n        This release is  the third in a series devoted to longtime Chicago\n        Symphony Orchestra music  director Frederick Stock, inaugurated to\n        celebrate the 150th anniversary of his  birth in 1872.  All of Stock’s\n        symphonic  recordings will be featured in upcoming volumes (his four\n        concerto recordings  have already been well-covered on CD reissues),\n        presented for the most part in  the order in which they were recorded.\n        Several  items here have not been available since the 78-rpm era (the “Ballabile”  from Glazunov’s \u003cem\u003eLes ruses d’amour\u003c\/em\u003e, the Strauss\n        \u003cem\u003eEmperor Waltz\u003c\/em\u003e and  the Wagner \u003cem\u003eLohengrin\u003c\/em\u003e Prelude).\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock  was born in Jülich, Germany, on 11 November 1872.  His father, an\n    army bandmaster, provided his  early musical training.  He entered  Cologne\n    Conservatory at the age of fourteen studying violin and composition;  among\n    his teachers was Humperdinck, and Willem Mengelberg was a classmate.  Upon\n    his graduation in 1890, he joined the  Municipal Orchestra of Cologne as a\n    violinist.   Five years later, he auditioned for the visiting Theodore\n    Thomas, who  was recruiting players for his four-year-old Chicago Orchestra.\n    Thomas hired him initially as a violist, but  within four years he\n    recognized Stock’s conducting talent and made him his  assistant.\n\u003c\/p\u003e\n\u003cp\u003e\n    When  Thomas died suddenly in January, 1905, Stock served as interim music\n    director  while the orchestra board attempted to secure the services of such\n    well-known  European conductors as Weingartner, Richter and Mottl.  When the\n    board’s efforts failed, Stock was  appointed for a trial year.  He was to\n    remain music director until his death thirty-seven years later (20 October\n    1942), a record surpassed among major American orchestras only by Ormandy’s\n    tenure with the Philadelphia, and by few other conductor\/orchestra\n    combinations  throughout the world (Mengelberg\/Concertgebouw,\n    Mravinsky\/Leningrad).\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock’s  recording career divides neatly into three periods.  His Columbia\n    acoustics of 1916-17 were succeeded,  after an eight-year hiatus, by a\n    series of electrical recordings for Victor  (1925-30) which included Bach’s\n    B Minor Suite, a Mozart 40th, Schumann’s  “Spring” Symphony and\n    Tchaikovsky’s Fifth.   After another nine-year absence from the microphone,\n    Stock and the  Chicago Symphony rejoined Columbia for two seasons (1939-40\n    and 1940-41) for an  extensive string of recordings including a Mozart\n    “Prague”, the Schubert 9th,  the Schumann Fourth, Brahms’ Third and\n    \u003cem\u003e\n        Tragic\n    \u003c\/em\u003e\n    Overture, Tchaikovsky’s \u003cem\u003eNutcracker\u003c\/em\u003e Suite, Strauss’\n    \u003cem\u003e\n        Also Sprach Zarathustra\n    \u003c\/em\u003e\n    and numerous short “popular” works, as well as concerto recordings with\n    Milstein and Piatigorsky.  Returning to  Victor for what turned out to be\n    his final full season with the orchestra  (1941-42), he made two\n    much-admired Beethoven concerto recordings with Schnabel,  as well as\n    Dvořák’s \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e and the Chausson Symphony.\n\u003c\/p\u003e\n\u003cp\u003e\n    In  the works presented in this volume, Stock returned to some composers who\n    featured again and again in his recordings – Glazunov, Goldmark, Johann\n    Strauss  II and Wagner – while adding two who were new to his discography,\n    Mozart and the  conductor himself.  Stock only recorded  two Mozart works,\n    the G minor Symphony heard here and the “Prague” Symphony,  which he\n    recorded for Columbia in 1939.  His  approach here is relatively\n    straightforward, in the tradition of the large modern  orchestra\n    performances of the time, with just a few touches of string  portamento to\n    betray his Romantic-era roots.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like  many conductors of his generation, Stock also kept up an active\n    composing life,  producing symphonies, concertos and other types of\n    orchestral works, many of  which he premièred with the Chicago Symphony.\n    Only one of these was recorded under his baton,  his\n    \u003cem\u003e\n        Symphonic Waltz\n    \u003c\/em\u003e\n    of 1907, which looks back at the waltzes of Johann  Strauss (whose\n    \u003cem\u003e\n        Wine, Women and Song\n    \u003c\/em\u003e\n    is quoted in the work) even as it  seems to look forward to the dense\n    orchestration and harmonies of Richard  Strauss’ \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e\n    and the dreamlike diversions of Ravel’s \u003cem\u003eLa  valse\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    The  economic depression which hit the United States in October, 1929 led\n    the Victor  label to severely curtail their program of Classical recording.\n    The works heard here were the last that Stock  and the Chicago Symphony\n    would set down on disc for nine years.  When they appeared once more before\n    the microphone,  they were back with their original label, Columbia.  But\n    that is a story for another volume . . .\n\u003c\/p\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 4 (1939-1940) - PASC721\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    After Frederick Stock’s December, 1930  sessions with the Chicago Symphony\n    for Victor, the label essentially shut down  its symphonic recording\n    program, due to the economic exigencies of the Great  Depression.  For the\n    next few years, only  Stokowski’s Philadelphia Orchestra was recorded with\n    any regularity, and that  was only made possible by the use of drastically\n    reduced forces playing in a  small studio.  While the Boston Symphony  and\n    New York Philharmonic came back to the fold after a few years, the Chicago\n    Symphony  remained unrecorded for nearly a decade.\n\u003c\/p\u003e\n\u003cp\u003e\n    In November of 1939, Stock and the  Chicagoans rejoined their original\n    label, Columbia, for a new set of  recordings.  The move came at an\n    auspicious moment, for the label had just begun recording directly on\n    lacquer master  discs, where a wider frequency range than previously\n    available on shellac discs  could be captured.  Indeed, the first  item of\n    their first session (the \u003cem\u003eNutcracker\u003c\/em\u003e Suite) was the first such\n    master recording Columbia made.  Although  at the time the lacquers were\n    used for dubbing to standard wax 78 rpm masters, they  later serendipitously\n    proved to be a sonically superior source for transfer to  LPs.\n\u003c\/p\u003e\n\u003cp\u003e\n    The present reissue utilizes, wherever  possible, the early 1950s\n    remasterings for Columbia’s Entré LP  series, taken from quiet, high-quality\n    lacquer masters, as the basis for new  restorations.  Although most of\n    Stock’s  Chicago recordings from this period were reissued in this series, a\n    few never  appeared on LP, including \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e and\n    the \u003cem\u003eEuryanthe\u003c\/em\u003e Overture.  These have been transferred  from their\n    only published source, sonically compromised 78 rpm shellac dubs.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Chicago Symphony that we hear on  these recordings is a bit different\n    from the ensemble on the 1925-30 Victor series.  Playing practices had\n    changed over the prior  decade, with string portamento now being used more\n    sparingly and  discreetly.  The now 67-year-old Stock  conducts with his\n    customary high energy; but there are fewer examples of the  kind of willful,\n    idiosyncratic touches he displayed in, for example, his 1927  Tchaikovsky\n    Fifth (although he still inserts \u003cem\u003eLuftpausen\u003c\/em\u003e to divide  sections in\n    the outer movements of the Mozart “Prague”).  His interpretations have\n    seemed to move a bit  more to a somewhat objective middle – if not quite\n    Toscaniniesque, then at  least prefiguring what Fritz Reiner would later\n    bring to this orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mention of Reiner begs the observation  that Stock was the first conductor\n    to record \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e with the Chicago Symphony, a\n    tradition which was to continue under music  directors Artur Rodzinski\n    (reissued on Pristine PASC 569), Fritz Reiner (twice  – 1954, on PASC 411,\n    and 1962) and Sir Georg Solti, as well as Pierre Boulez.  Concertmaster John\n    Weicher played the violin  solos on the first three recordings.   Stock\n    brings a thoroughly idiomatic sweep and drama to this score  (which, oddly,\n    never saw a Columbia LP reissue, even though there was not  another\n    recording of the work in the label’s catalog).\n\u003c\/p\u003e\n\u003cp\u003e\n    It is interesting to see so much of the  repertoire that was associated with\n    Leopold Stokowski’s best-selling recordings  with the Philadelphia Orchestra\n    chosen for Stock’s Columbia sessions (here, the \u003cem\u003eNutcracker\u003c\/em\u003e Suite,\n    \u003cem\u003eSwan of Tuonela\u003c\/em\u003e, \u003cem\u003eDanse Macabre\u003c\/em\u003e, even\n    \u003cem\u003e\n        Procession  of the Sardar\n    \u003c\/em\u003e\n    ).  One wonders whether  Columbia saw Stock as a good marketing match to\n    counter Stokowski’s Victor  repertoire.\n\u003c\/p\u003e\n\u003cp\u003e\n    Along with \u003cem\u003eZarathustra\u003c\/em\u003e, the  Schubert Ninth takes pride of place\n    among the works presented here as one of  Stock’s finest interpretations on\n    disc. \u003cem\u003eFanfare\u003c\/em\u003e critic Mortimer Frank called it “a superb account […]\n    which, even in today’s  heavy competition, would shine as one of the great\n    recordings of the  score.”  Frank also called attention to  “[t]wo aspects\n    of the performance [that] are especially interesting: a  march-like\n    insistence in the second movement and the playing of the two final  measures\n    of the first movement strictly in tempo, thereby italicizing their  motivic\n    relationship to what has preceded.   Toscanini, so far as I can recall, was\n    the only other conductor on  record to do this […]”.\n\u003c\/p\u003e\n\u003cp\u003e\n    The recording dates shown are taken from  the late Don Tait’s unpublished\n    CSO discography, which utilized data from  Columbia’s recording logs, some\n    of which was missing or ambiguous.  The matrix and take numbers of the\n    issued 78s  bear no relationship to the lacquer masters, and were assigned\n    at the time of  dubbing.\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - PASC749\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003eThe current volume of our series devoted to Frederick Stock’s purely orchestral recordings with the Chicago Symphony begins with his final recordings for Columbia, as well as the first disc made upon his return to Victor at the end of 1941, placed here because it would not have fit with his remaining late Victors on the single release that will conclude this series.\u003cbr\u003e\u003cbr\u003eBetween the end of Volume 4 and the first work on this volume, Stock made his only two concerto recordings for Columbia.  On the same day (6 March 1940), he set down the Tchaikovsky Violin Concerto with Milstein and the Saint-Saëns Cello Concerto No. 1 with Piatigorsky.  As both of these have seen several CD reissues already, they are omitted from this series.  \u003cbr\u003e\u003cbr\u003eThe next session, held on 23 November 1940, featured Stock’s only electrical recording made in New York while the orchestra was on tour, the Brahms Third Symphony.  Stock’s reading here, like many of the other performances on this release, is filled with an energy and forward momentum that belies his reported health problems which had led to the engagement of Toscanini’s assistant from the New York Philharmonic, Hans Lange, to join the CSO as assistant conductor several years earlier to help shoulder the workload.\u003cbr\u003e\u003cbr\u003eThe remaining Columbias in this release were all set down during two very fruitful days of recording the following year, Friday and Saturday April 25th and 26th, 1941.  These were given over to recording mainly shorter pieces (overtures and “pops” material), with the only extended work being the Schumann Fourth.  It is noteworthy that of the seven complete symphonies Stock recorded over his career, two were by Schumann (this and the 1929 Victor recording of the “Spring” Symphony on Volume 2 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc684\"\u003e\u003ci\u003ePASC 684\u003c\/i\u003e\u003c\/a\u003e)).  By this time in his career, Stock’s approach had changed from the rather \u003ci\u003egemütlich \u003c\/i\u003eapproach of the earlier recording to a more driven, Toscanini-like reading, entirely appropriate to this more dramatic score.\u003cbr\u003e\u003cbr\u003eStock’s largely conservative discography might blind us to the fact that he was a champion of contemporary repertoire throughout his career.  He was the first to perform the Mahler Seventh in the USA; and a year after Stokowski had given the American première of the Eighth in Philadelphia in 1916, Stock programmed it in Chicago.  In 1921, he conducted the world première of Prokofiev’s Piano Concerto No. 3 with the composer as soloist, and was the first to champion Florence Price by conducting her First Symphony in 1933.\u003cbr\u003e\u003cbr\u003eFor the orchestra’s 50th season (1940-41), Stock commissioned a number of famous composers to contribute new works to be premièred by the ensemble, including Stravinsky’s Symphony in C, Miaskovsky’s Symphony No. 21, Kodaly’s Concerto for Orchestra and Milhaud’s First Symphony.  The only work which Stock recorded from this endeavor was Walton’s \u003ci\u003eScapino \u003c\/i\u003eOverture.  Scapino was an Italian Commedia dell’Arte figure known to escape scrapes and close calls with his wits, and Walton constructed an aptly fleet work to showcase him.  This disc, recorded three weeks after its première on 3 April 1941, utilizes the original scoring for large orchestra.  In 1950, Walton revised the score for smaller forces in a version that was first given by Furtwängler and the Philharmonia Orchestra that year.  The work is close in spirit to Arthur Benjamin’s “Overture to an Italian Comedy” which closes this release, although the Benjamin predated the Walton by several years.\u003cbr\u003e\u003cbr\u003eAs far as the rest of the repertoire goes, Glazunov must have been one of Stock’s favorite composers, because his works are featured in his discography as far back as his early acoustic recordings as well as in his late-Twenties Victors.  Here, he gets to record three full discs of the composer’s works.  The Liadov was never issued on 78s, probably because it was an “odd side” that didn’t have a coupling.  And Stock’s arrangement of Paganini’s “Moto Perpetuo”, with its quotations from Beethoven’s \u003ci\u003eEroica\u003c\/i\u003e\/\u003ci\u003ePrometheus \u003c\/i\u003emusic in counterpoint, is much cleverer than Toscanini’s more straightforward all-string arrangement recorded two years earlier.\u003cbr\u003e\u003cbr\u003eOur next volume will be the final one in this series, featuring the remainder of Stock’s non-concerto Victors from 1941.\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 6 (1941) - PASC771\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eThis final volume of our series devoted to Frederick Stock’s purely orchestral recordings with the Chicago Symphony features the remainder of the sides made during his December, 1941 Victor sessions other than Arthur Benjamin’s \u003cem\u003eOverture to an Italian Comedy\u003c\/em\u003e, which was placed at the end of the prior volume due to timing constraints.\u003c\/p\u003e\n\n\u003cp\u003eStock’s compositional efforts include several transcriptions, a few of which he recorded in Chicago going back to the acoustic era. The Bach “St. Anne” Prelude and Fugue is the most ambitious of the works that he orchestrated to see release on disc, and is more opulently scored than Arnold Schoenberg’s take on the same work (which that composer conducted with the CSO in 1934). One other Stock transcription from these sessions, an electric remake of his arrangement of “The Star-Spangled Banner”, has never been released and is believed to be lost.\u003c\/p\u003e\n\n\u003cp\u003eStock made few Wagner recordings, but what he did leave behind was memorable. The “Forest Murmurs” from \u003cem\u003eSiegfried\u003c\/em\u003e was meant to replace Mengelberg’s 1928 New York recording in the Victor catalog, yet for unknown reasons it was never issued on 78s. It has been transferred here from a vinyl test pressing.\u003c\/p\u003e\n\n\u003cp\u003eAlthough Stock excelled in the rhythms and color of such middle European repertoire as that of Dvořák, Smetana and Suk, he recorded comparatively little of it. In these sessions, having already set down the middle part of Dvořák’s “Nature, Life and Love” triptych (the \u003cem\u003eCarnival\u003c\/em\u003e Overture, in Volume 1), he now assayed the first section, \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e. These, along with a single Slavonic Dance (in Volume 2) were his only Dvořák recordings. It was issued on three sides, and having no appropriate new filler, was released with a reissue of his 1926 recording of a movement from Suk’s \u003cem\u003eFairy Tale Suite\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe Chicago Symphony’s long association on disc with the music of Richard Strauss began during Stock’s tenure. Yet, despite strong performances of \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e (on Volume 4) and a live broadcast of \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, the single movement from the composer’s early work \u003cem\u003eAus Italien\u003c\/em\u003e is the total of Stock’s Strauss on disc. The conductor’s way with the graceful swooping of the birds over Sorrento makes one wish Victor had recorded the entire score.\u003c\/p\u003e\n\n\u003cp\u003eChausson’s only symphony has never achieved the popularity of that of his teacher and mentor César Franck, on which it is clearly modeled. Only three recordings of it were made during the entire 78 rpm era; but Stock’s is the best played, best recorded and arguably the most persuasively interpreted of the lot. His passionate reading makes a strong case for this underrated score, and also includes a surprise in the third movement: Stock rescores the solo trumpet-led chorale theme toward the end for the organ, in a nod to Saint-Saëns’ Third Symphony (or perhaps Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e, where it appears in a similar place), a substitution not to be found in any other recording.\u003c\/p\u003e\n\n\u003cp\u003eStock returned for two more Victor sessions in July of 1942, recording the Beethoven Fourth and Fifth (“Emperor”) Concertos with Artur Schnabel, performances which have stayed in the catalog for much of the time since and are not included in this series. He died three months later, ending a 47-year association with the Chicago Symphony, 37 of it spent as its music director, one of the longest tenures of any conductor-orchestra association in history.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003e\u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/em\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1 Columbia Acoustics, 1916 - 1917 (74:53)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \n    \n        \u003cstrong\u003e\n            MENDELSSOHN Wedding March from \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e\n        \u003c\/strong\u003e\n   \n    \u003cstrong\u003e, Op. 61 \u003c\/strong\u003e\n    (4:28)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48763-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003eWAGNER Ride of the Valkyries from \u003cem\u003eDie Walküre\u003c\/em\u003e \u003c\/strong\u003e\n    (4:36)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48764-2 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\n\u003cp\u003e\n3.    \u003cstrong\u003eGRIEG The Last Spring from Two Elegiac Melodies, Op. 34 \u003c\/strong\u003e\n    (4:39)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48766-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\n\u003cp\u003e\n    4.\n    \u003ca name=\"OLE_LINK3\"\u003e\n        \u003cstrong\u003eSAINT-SAËNS Bacchanale from \u003cem\u003eSamson et Dalila\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/a\u003e\n    \u003cstrong\u003e, Op. 47 \u003c\/strong\u003e\n    (4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48770-1 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\n\u003cp\u003e\n    5.\n    \n        \u003cstrong\u003eTCHAIKOVSKY Waltz from \u003cem\u003eSleeping Beauty\u003c\/em\u003e \u003c\/strong\u003e\n    \n    (4:16)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48772-1 ∙ First issued on Columbia A5860\n\n\u003c\/p\u003e\n\u003cp\u003e\n    6. \u003cstrong\u003eJÄRNFELT Praeludium \u003c\/strong\u003e(2:31)\u003cbr\u003e7. \u003cstrong\u003eFRANÇOIS\u003c\/strong\u003e\u003cstrong\u003e SCHUBERT \u003c\/strong\u003e\u003cstrong\u003eThe Bee from Bagatelles, Op. 13, No. 9 \u003c\/strong\u003e(1:48) \u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48776-3 ∙ First issued on Columbia A6014\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eBIZET \u003cem\u003eCarmen\u003c\/em\u003e – Prelude to Act 4 (Aragonaise) \u003c\/strong\u003e\n    (2:08)\u003cbr\u003e9. \u003cstrong\u003eBIZET \u003cem\u003eL’Arlésienne\u003c\/em\u003e – Farandole \u003c\/strong\u003e(1:19) \u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48794-2 ∙ First issued on Columbia A5860\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    10.\n    \n        \u003cstrong\u003e\n            WAGNER Parsifal – Processional of the Knights of the Holy Grail\n        \u003c\/strong\u003e\n    \n    \u003cstrong\u003e \u003c\/strong\u003e\n    (4:25)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48796-1 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n11. \u003cstrong\u003eWAGNER Lohengrin – Prelude to Act 1 \u003c\/strong\u003e(4:23)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48803-2 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n12. \u003cstrong\u003eSUPPÉ Poet and Peasant – Overture \u003c\/strong\u003e(7:30)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 \u0026amp; 15 May 1917 ∙ Matrices: 49193-2 \u0026amp; 49194-2 ∙ First\n    issued on Columbia A5991\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    13.\n    \n        \u003cstrong\u003e\n            J. STRAUSS II Thousand and One Nights – Waltz, Op. 346\n        \u003c\/strong\u003e\n    \n    (4:22)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 May 1917 ∙ Matrix: 49195-2 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    14.\n   \n        \u003cstrong\u003e\n            WOLF-FERRARI \u003cem\u003eJewels of the Madonna\u003c\/em\u003e - Intermezzo\n        \u003c\/strong\u003e\n   \n    (3:10)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 15 May 1917 ∙ Matrix: 49201-2 ∙ First issued on Columbia A6014\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    15. \u003cstrong\u003eSIMONETTI (orch. Stock) Madrigale \u003c\/strong\u003e(2:16)\u003cbr\u003e16. \u003cstrong\u003eSCHUBERT (orch. Stock) Moment musical, D.780, No. 3 \u003c\/strong\u003e\n    (1:48)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49203-2 ∙ First issued on Columbia A6026\n\u003c\/p\u003e\n\u003cp\u003e\n    17.\n   \n        \u003cstrong\u003eGLAZUNOV \u003cem\u003eLes Ruses d’Amour\u003c\/em\u003e, Op. 61 - Waltz \u003c\/strong\u003e\n  \n    (4:29)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49204-1 ∙ First issued on Columbia A6026\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    18.\n    \n        \u003cstrong\u003eJ. STRAUSS II Voices of Spring – Waltz, Op. 410 \u003c\/strong\u003e\n    \n    (4:20)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49207-1 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\n\u003cp\u003e\n    19.\n  \n        \u003cstrong\u003eSMITH (orch. Stock) The Star-Spangled Banner \u003c\/strong\u003e\n   \n    (2:39)\u003cbr\u003e20. \u003cstrong\u003eCAREY (orch. Stock) America \u003c\/strong\u003e(1:23)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49205-1 ∙ First issued on Columbia A5977\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n21.    \u003cstrong\u003eMEACHAM American Patrol – March \u003c\/strong\u003e\n    (3:57)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49206-2 ∙ First issued on Columbia A5977\n\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\u003cstrong\u003eCD 2 Victor Electrics – 1925 - 1926 (75:43)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eDVOŘÁK Carnival – Overture, Op. 92 \u003c\/strong\u003e(8:51)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 19 December 1925 ∙ Matrices: CVE 34049-2 \u0026amp; 34050-2 ∙ First\n    issued on Victor 6560\n\n\u003c\/p\u003e\n\u003cp\u003e\n2. \u003cstrong\u003eGOLDMARK In Springtime\u003c\/strong\u003e    \u003cstrong\u003e – Overture, Op. 36 \u003c\/strong\u003e(8:30)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1925 ∙ Matrices: CVE 34054-4 \u0026amp; 34055-5 ∙ First\n    issued on Victor 6576\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\nMAC DOWELL (orch. Stock)        Woodland Sketches, Op. 51\u003c\/strong\u003e\u003cbr\u003e3. No. 6: To a Water Lily (2:56)\u003cbr\u003e4. No. 1: To a Wild Rose (2:21)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrices: BVE 34065-5 \u0026amp; 34066-4 ∙ First\n    issued on Victor 1152\n\n\u003c\/p\u003e\n\u003cp\u003e\n    5. \u003cstrong\u003eSIBELIUS Valse triste from \u003cem\u003eKuolema\u003c\/em\u003e, Op. 44 \u003c\/strong\u003e\n    (4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34067-3 ∙ First issued on Victor\n    6579\n\n\u003c\/p\u003e\n\u003cp\u003e\n    6.\n    \n        \u003cstrong\u003e\n            VOLKMANN Waltz from Serenade for String Orchestra, Op. 63\n        \u003c\/strong\u003e\n    \n    (3:07)\u003cbr\u003e7.\n   \n        \u003cstrong\u003e\n            RIMSKY-KORSAKOV Flight of the Bumble-Bee from \u003cem\u003eTsar Sultan\u003c\/em\u003e\n        \u003c\/strong\u003e\n  \n    (1:27)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34068-3 ∙ First issued on Victor\n    6579\n\u003c\/p\u003e\n\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n        WAGNER \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e – Prelude to Act 1\n    \u003c\/strong\u003e\n    (9:09)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrices: CVE 37270-7 \u0026amp; 37271-6 ∙ First\n    issued on Victor 6651\n\n\u003c\/p\u003e\n\u003cp\u003e\n    9.\n   \n        \u003cstrong\u003eJ. STRAUSS II – Wine, Women and Song – Waltz, Op. 333 \u003c\/strong\u003e\n    \n    (4:41)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrix: CVE 37272-4 ∙ First issued on Victor\n    6647\n\n\u003c\/p\u003e\n\u003cp\u003e\n    10.\n    \n        \u003cstrong\u003eJ. STRAUSS II – Roses from the South – Waltz, Op. 388 \u003c\/strong\u003e\n   \n    (4:44)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrix: CVE 37274-2 ∙ First issued on Victor\n    6647\n\n\u003c\/p\u003e\n\u003cp\u003e\n11. \u003cstrong\u003eTHOMAS \u003cem\u003eMignon\u003c\/em\u003e – Overture \u003c\/strong\u003e(7:59)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrices: CVE 37275-2 \u0026amp; 37276-3 ∙ First\n    issued on Victor 6650\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        \u003cstrong\u003eBRAHMS (orch. Dvořák) Hungarian Dances\u003c\/strong\u003e\u003cbr\u003e12. No. 17 in F sharp minor (1:57)\u003cbr\u003e13. No. 18 in D major (1:07)\u003cbr\u003e14. No. 19 in B minor (1:44)\u003cbr\u003e15. No. 20 in E minor (2:17)\u003cbr\u003e16. No. 21 in E minor (1:20)\u003cbr\u003eRecorded 21 \u0026amp; 22 December 1926 ∙ Matrices: CVE 37277 \u0026amp; 37283 ∙\n    Unissued on 78 rpm\n\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eHANDEL – Largo from \u003cem\u003eSerse\u003c\/em\u003e (“Ombra mai fu”) \u003c\/strong\u003e\n    (4:40)\u003cbr\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003cbr\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37281-5 ∙ First issued on Victor\n    6648\n\u003c\/p\u003e\n\u003cp\u003e\n18. \u003cstrong\u003eELGAR Pomp and Circumstance \u003c\/strong\u003e    \u003cstrong\u003eMarch No. 1, Op. 39 \u003c\/strong\u003e(4:31)\u003cbr\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37282-3 ∙ First issued on Victor\n    6648\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrederick Stock ∙ Chicago Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\n    Special thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eRecording locations: Columbia Studios, New York City (1916-17); Webster\n    Hotel Ballroom, Chicago (1925); and Orchestra Hall, Chicago (1926)\n\n\u003c\/p\u003e\n\u003cp\u003eTotal duration: 2hr 30:36\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 2 (1925-1929) - PASC684\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK \u003c\/b\u003eand The Chicago Symphony, Volume 2\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1 (76:59)\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;\"\u003eJ. S. BACH Suite No. 2 in B minor, BWV 1067\u003c\/span\u003e\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. Ouverture: Grave; Allegro (7:32)\u003cbr\u003e2. Rondeau: Allegro (1:40)\u003cbr\u003e3. Sarabande: Andante (1:27)\u003cbr\u003e4. Bourées I and II (1:29)\u003cbr\u003e5. Polonaise: Moderato(2:33)\u003cbr\u003e6. Menuet: Allegretto (0:37)\u003cbr\u003e7. Badinerie: Allegro (1:27)\u003cstrong\u003e\u003cbr\u003eErnest Liegl (flute)\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 December 1928 ∙ Matrices: CVE 48765-2, 48766-2, 48767-3 \u0026amp;\n    48768-2 ∙ First issued on Victor 6914\/5\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\u003e8.\n    \u003ca name=\"OLE_LINK2\"\u003e\n        \u003cstrong\u003eSUK Intermezzo: Playing at Swans and Peacocks \u003c\/strong\u003e\n    \u003c\/a\u003e\n(No. 2 from \u003ci\u003eFairy Tale Suite\u003c\/i\u003e, Op. 16) \u003cem\u003e(first recording)\u003c\/em\u003e    \u003cstrong\u003e \u003c\/strong\u003e(3:37)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 December 1925 ∙ Matrix: BVE 34069-1 ∙ 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\u003e9. \u003cstrong\u003eSUK Intermezzo: Playing at Swans and Peacocks \u003c\/strong\u003e(No. 2\nfrom \u003ci\u003eFairy Tale Suite\u003c\/i\u003e, Op. 16)\u003cstrong\u003e \u003c\/strong\u003e    \u003cem\u003e(second recording)\u003c\/em\u003e\u003cem\u003e \u003c\/em\u003e(3:42)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 December 1926 ∙ Matrix: CVE 34069-2 ∙ First issued on Victor\n    6649\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n10. \u003cstrong\u003eDVOŘÁK Slavonic Dance No. 8 in G minor, Op. 46 \u003c\/strong\u003e    \u003cem\u003e \u003c\/em\u003e(4:05)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37284-2 ∙ First issued on Victor\n    6649\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 in E minor\u003c\/span\u003e\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e11. 1st Mvt. – Andante – Allegro con anima (14:03)\u003cbr\u003e12. 2nd Mvt. – Andante cantabile, con alcuna licenza (13:27)\u003cbr\u003e13. 3rd Mvt. – Valse: Allegro Moderato (6:29)\u003cbr\u003e14. 4th Mvt. – Andante maestoso – Allegro vivace (9:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19-20 December 1927 ∙ Matrices: CVE 41382-5, 41383-4, 41384-2,\n    41385-2, 41386-2, 41387-1, 41388-2, 41389-2, 41390-3, 41391-1, 41392-3\n    \u0026amp; 41393-3 ∙ First issued on Victor 6777\/82 in album M-25\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\u003e15. \u003cstrong\u003eGLINKA Russlan and Ludmilla – Overture \u003c\/strong\u003e(4:44)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 December 1928 ∙ Matrix: CVE 48764-2 ∙ First issued on Victor\n    7123\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\u003eCD 2 (77:07)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDOHN\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eÁ\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eNYI Suite in F-sharp minor, Op. 19\u003c\/span\u003e\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. 1st Mvt. – Andante con variazioni (9:29)\u003cbr\u003e2. 2nd Mvt. – Scherzo: Allegretto vivace (4:16)\u003cbr\u003e3. 3rd Mvt. – Romanza: Andante poco mosso – Poco più mosso – Tempo I (4:38)\u003cbr\u003e4. 4th Mvt. – Rondo: Allegro vivace – Andante – Tempo I (7:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18-19 December 1928 ∙ Matrices: CVE 48769-2, 48770-1, 48771-2,\n    48772-3, 48773-2 \u0026amp; 48774-2 ∙ First issued on Victor 6991\/3 in album\n    M-47\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\u003e5. \u003cstrong\u003eGLAZUNOV Pas d’action \u003c\/strong\u003e(from    \u003ci\u003eScènes de ballet\u003c\/i\u003e, Op.\n    52)\u003cstrong\u003e \u003c\/strong\u003e(4:29)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 December 1928 ∙ Matrix: CVE 48775-1 ∙ First issued on Victor\n    7309 in album M-86\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. \u003cstrong\u003eWAGNER (arr. T. Thomas) Tr\u003c\/strong\u003e\u003cstrong\u003eä\u003c\/strong\u003e\u003cstrong\u003eume\u003c\/strong\u003e (No. 5 from\u003cem\u003e \u003ci\u003eWesendonck Lieder\u003c\/i\u003e\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003e(4:16)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 December 1928 ∙ Matrix: CVE 48776-1 ∙ First issued on Victor\n    7123\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\u003eJ. STRAUSS II Du und du \u003c\/strong\u003e\n    (Waltzes from \u003cem\u003eDie Fledermaus\u003c\/em\u003e) (6:16)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 December 1929 ∙ Matrices: BVE 57266-4 \u0026amp; 57267-3 ∙ First\n    issued on Victor 1481\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\u003e8. \u003cstrong\u003eSMETANA The Bartered Bride - Overture\u003c\/strong\u003e (6:40)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 December 1929 ∙ Matrices: BVE 57268-3 \u0026amp; 57269-3 ∙ First\n    issued on Victor 1555\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN Symphony No. 1 in B-flat major, Op. 38, “Spring”\u003c\/span\u003e\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt. – Andante un poco maestoso (9:57)\u003cbr\u003e10. 2nd Mvt. – Larghetto (5:58)\u003cbr\u003e11. 3rd Mvt. – Scherzo (5:11)\u003cbr\u003e12. 4th Mvt. – Allegro animato e grazioso (8:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17-18 December 1929 ∙ Matrices: CVE 57270-3, 57271-1, 57272-2,\n    57273-2, 57274-3, 57275-2 \u0026amp; 57276-1 ∙ First issued on Victor 7306\/9 in\n    album M-86\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;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrederick Stock ∙ Chicago Symphony 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: Mark Obert-Thorn\u003cbr\u003e\u003cbr\u003eRecording locations: \u003cbr\u003eWebster Hotel Ballroom, Chicago (1925)\u003cbr\u003eOrchestra\n    Hall, Chicago (1926, 1929)\u003cbr\u003eGoodman Theatre, Chicago (1927, 1928)\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan role=\"heading\" aria-level=\"1\" class=\"yKMVIe\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal duration: 2hr 34:06\u003c\/span\u003e\u003c\/span\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 3 (1929-1930) - PASC699\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLAZUNOV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes ruses d’amour, Op. 61\u003c\/span\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1.           Introduction et Scene I (4:48)\u003cbr\u003e2.           Ballabile des paysans et des paysannes   (4:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 December 1929 ∙ Matrices: CVE 57277-3 \u0026amp; 57278-1  ∙ First\n    issued on Victor 7423\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\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 40 in G minor, K.550\n    \u003c\/span\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e3.           1st  Mvt. – Molto allegro (7:14)\u003cbr\u003e4.           2nd  Mvt. – Andante (8:07)\u003cbr\u003e5.           3rd  Mvt. – Menuetto:  Allegro – Trio (4:13)\u003cbr\u003e6.           4th  Mvt. – Allegro assai (4:55)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 December 1930 ∙ Matrices: CVE 56883-4, 56884-3,  56885-1,\n        56886-1, 56887-1 \u0026amp; 56888-2 ∙ First issued on Victor 7394\/6 in  album\n        M-109\n    \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.\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eEmperor Waltz (\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003ci\u003eKaiser-Walzer\u003c\/i\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e)\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e, Op. 437 \u003c\/span\u003e(8:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1930 ∙ Matrices: CVE 56889-2 \u0026amp;  56890-2 ∙ First\n        issued on Victor 7653\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\u003e8. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTannh\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eä\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003euser – Fest March\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003c\/em\u003e(4:05)\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1930 ∙ Matrix: CVE 56891-3 ∙ First  issued on\n        Victor 7386\n\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\u003e9.\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eGOLDMARK \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Queen  of Sheba – Ballet Music\u003c\/span\u003e\u003cstrong\u003e\n    \u003c\/strong\u003e\n    \u003cem\u003e\u003c\/em\u003e(9:31) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1930 ∙ Matrices: CVE 56892-2 \u0026amp;  56893-1 ∙ First\n        issued on Victor 7474\n    \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\u003e10. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003eLohengrin – Prelude to Act 3\u003c\/span\u003e (3:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1930 ∙ Matrix: CVE 56894-2 ∙ First  issued on\n        Victor 7386\n    \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\u003e11. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTOCK \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonic Waltz\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e, Op. 8\u003c\/span\u003e (8:42)\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1930 ∙ Matrices: CVE 56895-2 \u0026amp;  56896-2 ∙ First\n        issued on Victor 7387\n\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: 20px;\"\u003eFrederick  Stock ∙ Chicago Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 20px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\n    \u003c\/span\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eAll  recordings made in Orchestra Hall, Chicago\n\u003c\/p\u003e\n\u003cp\u003e\n    Total  timing:  67:21\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 4 (1939-1940) - PASC721\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\u003eFREDERICK STOCK\u003c\/b\u003e and the Chicago Symphony - Volume 4\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eCD 1\n        (74:58)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Nutcracker Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e, Op.  71a\u003c\/span\u003e\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1.         Miniature  Overture (3:05)\u003cbr\u003e2.         March  (2:19)\u003cbr\u003e3.         Dance  of the Sugar-Plum Fairy (1:41)\u003cbr\u003e4.         Russian  Dance (Trepak) (1:05)\u003cbr\u003e5.         Arabian  Dance (3:38)\u003cbr\u003e6.         Chinese  Dance (1:10)\u003cbr\u003e7.         Dance  of the Flutes (2:08)\u003cbr\u003e8.         Waltz  of the Flowers (6:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 November 1939 ∙ Matrices: WXCO 26302-2, 26303-2,  26304-2,\n        26305-2, 26306-5 \u0026amp; 26307-1 ∙ First issued on Columbia 69799\/803-D\n        in album M-395\n    \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;\"\u003eMOZART \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony \n    No. 38 in D major, “Prague”\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e K.504\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e9.         1st  Mvt.  - Adagio  - Allegro (9:17)\u003cbr\u003e10.       2nd  Mvt. - Andante (9:13)\u003cbr\u003e11.       3rd  Mvt.  - Finale (Presto) (3:55)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 November 1939 ∙ Matrices: WXCO 26620-2, 26621-1,  26622-2,\n        26623-2, 26624-3 \u0026amp; 26625-3 ∙ First issued on Columbia 11252\/4-D in\n        album M-410\n    \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;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n   \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eAlso Sprach Zarathustra\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e, Op.\n    30\u003c\/span\u003e\u003c\/strong\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e12.       Sonnenaufgang  (\u003ci\u003eSunrise\u003c\/i\u003e) (1:41)\u003cbr\u003e13.       Von  den Hinterweltlern (\u003ci\u003eOf the Backworldsmen\u003c\/i\u003e) (3:42)\u003cbr\u003e14.       Von  den großen  Sehnsucht (\u003ci\u003eOf the Great Longing\u003c\/i\u003e) (1:40)\u003cbr\u003e15.       Von  den Freuden und Leidenschaften (\u003ci\u003eOf Joys and Passions\u003c\/i\u003e) (1:52)\u003cbr\u003e16.       Das  Grablied (\u003ci\u003eThe Song of the Grave\u003c\/i\u003e) (2:03)\u003cbr\u003e17.       Von  der Wissenschaft (\u003ci\u003eOf Science and Learning\u003c\/i\u003e) (4:27)\u003cbr\u003e18.       Der  Genesende (\u003ci\u003eThe Convalescent\u003c\/i\u003e) (4:09)\u003cbr\u003e19.       Das  Tanzlied (\u003ci\u003eThe Dance Song\u003c\/i\u003e) (7:10)\u003cbr\u003e20.       Nachtwandlerlied  (\u003ci\u003eSong of the Night Wanderer\u003c\/i\u003e) (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 January 1940 ∙ Matrices: WXCO 26327-1, 26328-1,  26329-1,\n        26330-1, 26331-3, 26332-1, 26333-1 \u0026amp; 26334-1 ∙ First issued on\n        Columbia  11391\/4 in album M-421\n  \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\u003cbr\u003eCD 2\n        (71:11)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS The Swan of Tuonela\u003c\/span\u003e (from \u003c\/strong\u003e\u003cb\u003e\u003ci\u003eLemminkäinen Legends\u003c\/i\u003e\u003c\/b\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e, Op.\n    22)\u003c\/strong\u003e (8:07) \u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 28 November 1939 or 17 or 24 January 1940 ∙  Matrices: WXCO\n        26720-1 \u0026amp; 26721-3 ∙ First issued on Columbia 11388-D\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eIPPOLITOV-IVANOV\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Procession \n    of the Sardar\u003c\/span\u003e \u003c\/strong\u003e\u003cstrong\u003e(from \u003cem\u003e\u003ci\u003eCaucasian  Sketches\u003c\/i\u003e\u003c\/em\u003e, Op. 10)\u003c\/strong\u003e\u003cem\u003e\u003c\/em\u003e (3:58)\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 January 1940 ∙ Matrix: WXCO 26426 ∙ First issued  on\n        Columbia 11738-D\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSAINT-SA\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eË\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eNS \n    Danse Macabre\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e, Op. 40\u003c\/span\u003e \u003c\/strong\u003e(6:55) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 January 1940 ∙ Matrice: WXCO 26411\/2 ∙ First  issued on\n        Columbia 11251-D\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER Euryanthe - Overture\u003c\/span\u003e\u003c\/strong\u003e (7:36) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 January 1940 ∙ Matrices: WXCO 26424-1 \u0026amp;  26425-2 ∙ First\n        issued on Columbia 11179-D\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 9 in C major, “The Great” \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eD.944\u003c\/span\u003e\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e5.         1st Mvt.  - Andante - Allegro ma non troppo - Più moto (12:58)\u003cbr\u003e6.         2nd Mvt.  - Andante con moto (12:29)\u003cbr\u003e7.         3rd  Mvt.  - Scherzo. Allegro vivace (7:54)\u003cbr\u003e8.         4th  Mvt.  - Finale. Allegro vivace (11:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 January 1940 ∙ Matrices: WXCO 26449-1, 26450-2,  26451-2,\n        26452-2, 26453-2, 26454-2, 26455-1, 26456-2, 26457-1, 26458-1 \u0026amp;\n        26459-1 ∙ First issued on Columbia 11190\/96-D in album M-403\n    \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: 20px;\"\u003eFrederick  Stock ∙ Chicago Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n   \n        \u003cstrong\u003eJohn Weicher, \u003cem\u003esolo violin\u003c\/em\u003e \u003c\/strong\u003e\n   \n    (\u003ci\u003eR. Strauss,  Saint-Saëns\u003c\/i\u003e)\u003cbr\u003e\u003cstrong\u003eRobert  M. Mayer, \u003cem\u003esolo English horn \u003c\/em\u003e\u003c\/strong\u003e(\u003ci\u003eSibelius\u003c\/i\u003e)\n\u003c\/p\u003e\n\u003cp\u003e\n   \n        \u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAll  recordings made in Orchestra Hall, Chicago\u003cbr\u003eCover  photo of Frederick Stock by George Nelidoff kindly provided by\n        the Rosenthal  Archives of the Chicago Symphony Orchestra (Frank\n        Villella, archivist).\n  \n\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 26:05\u003c\/b\u003e\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - PASC749\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc one \u003c\/b\u003e(75:42) \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e1. 1st Mvt. - Allegro con brio  (8:46)\u003cbr\u003e2. 2nd Mvt. - Andante  (7:53)\u003cbr\u003e3. 3rd Mvt. - Poco allegretto  (6:08)\u003cbr\u003e4. 4th Mvt. - Allegro - Un poco sostenuto  (8:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 November 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: XCO 29139-2, 29140-1, 29141-1, 29142-2, 29143-1, 29144-1, 29145-1 \u0026amp; 29146-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11505\/8-D in album M-443\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eScapino, a Comedy Overture\u003c\/span\u003e  (9:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 April 1941 ∙ Matrices: XCO 30554-1 \u0026amp; 30555-3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11945-D\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e6. 1st Mvt. - Ziemlich langsam - Lebhaft  (8:09)\u003cbr\u003e7. 2nd Mvt. - Romanze: Ziemlich langsam  (4:23)\u003cbr\u003e8. 3rd Mvt. - Scherzo: Lebhaft  (4:11)\u003cbr\u003e9. 4th Mvt. - Langsam - Lebhaft  (7:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 April 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: XCO 30751-2, 30752-1, 30753-2, 30754-1, 30755-1 \u0026amp; 30756-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11581\/3-D in album M-475\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e10. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eENESCU \u003c\/b\u003eRomanian Rhapsody No. 1, Op. 11\u003c\/span\u003e  (11:02)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 April 1941 ∙ Matrices: XCO 30816-2. 30817-1 \u0026amp; \u0026amp; 30818-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11605\/6-D in album X-203\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (77:22) \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eGLIÈRE \u003c\/b\u003eSymphony No. 3 in B minor, “Ilya Murometz”\u003c\/span\u003e\u003cbr\u003e1. 3rd Mvt. - The Palace of Prince Vladimir  (7:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 April 1941 ∙ Matrices: XCO 30966-1 \u0026amp; 30967-2 ∙ First issued on Columbia 11697-D\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e2. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003eCarnaval Overture, Op. 45\u003c\/span\u003e  (8:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 April 1941 ∙ Matrices: XCO 30968-1 \u0026amp; 30969-2 ∙ First issued on Columbia 11771-D\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eREZNIČEK \u003c\/b\u003eDonna Diana - Overture\u003c\/span\u003e  (3:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 April 1941 ∙ Matrix: XCO 30819-1 ∙ First issued on Columbia 11606-D in album X-203\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e4. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTOCH \u003c\/b\u003ePinocchio: A Merry Overture for Orchestra\u003c\/span\u003e  (6:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 April 1941 ∙ Matrices: XCO 30970-2 \u0026amp; 30971-1 ∙ First issued on Columbia 11665-D\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture, Op. 81\u003c\/span\u003e  (11:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 April 1941 ∙ Matrices: XCO 30972-3, 30973-1 \u0026amp; \u0026amp; 30974-1 ∙ First issued on Columbia 11681\/2-D in album X-214\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e6. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003eConcert Waltz No. 1, Op. 47\u003c\/span\u003e  (6:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 April 1941 ∙ Matrices: XCO 30975-1 \u0026amp; 30976-1 ∙ First issued on Columbia 11934-D in album X-232\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e7. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLAZUNOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcert Waltz No. 2, Op. 51\u003c\/span\u003e  (7:12)\u003cbr\u003eRecorded 26 April 1941 ∙ Matrices: XCO 30977-1 \u0026amp; 30978-1 ∙ First issued on Columbia 11933-D in album X-232\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLIADOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eBaba Yaga, Op. 56\u003c\/span\u003e  (2:49)\u003cbr\u003eRecorded 26 April 1941 ∙ Matrix: XCO 30979-1 ∙ Unissued on 78 rpm\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMinuet from Serenade No. 1 in D major, Op. 11\u003c\/span\u003e  (4:20)\u003cbr\u003eRecorded 26 April 1941 ∙ Matrix: XCO 30980-2 ∙ First issued on Columbia 11682-D in album X-214\u003cbr\u003e\u003cbr\u003e10. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePAGANINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e(arr. Stock) Moto Perpetuo, Op. 11\u003c\/span\u003e  (3:48)\u003cbr\u003eRecorded 26 April 1941 ∙ Matrix: XCO 30981-2 ∙ First issued on Columbia 11738-D\u003cbr\u003e\u003cbr\u003e11. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePONCHIELLI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDance of the Hours from \u003ci\u003eLa Gioconda\u003c\/i\u003e\u003c\/span\u003e  (8:12)\u003cbr\u003eRecorded 26 April 1941 ∙ Matrices: XCO 30546-1 \u0026amp; 30547-2 ∙ First issued on Columbia 11621-D\u003cbr\u003e\u003cbr\u003e12. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBENJAMIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to an Italian Comedy\u003c\/span\u003e  (6:29)\u003cbr\u003eRecorded 22 December 1941 ∙ Matrices: CS 070159-1 \u0026amp; 070160-1 ∙ First issued on Victor 11-8157\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eFrederick Stock ∙ Chicago Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eProducer and Audio Restoration Engineer:  \u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003cbr\u003eAll\n recordings made in Orchestra Hall, Chicago, except for the Brahms \nThird, which was recorded in Liederkranz Hall, New York City\u003cbr\u003eCover \nphoto of Frederick Stock by George Nelidoff kindly provided by the \nRosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, \narchivist).\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 33:02  \u003c\/b\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\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 6 (1941) - PASC771\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eFREDERICK STOCK\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003e and The Chicago Symphony, Volume 6\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003eBACH\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (orch. Stock) Prelude and Fugue in E-flat, BWV 552, “St. Anne”\u003c\/span\u003e\u003cbr\u003e\n1. Prelude  (9:38)\u003cbr\u003e\n2. Fugue  (5:51)\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 December 1941\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eMatrices: CS 070163\/6\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 11-8541\/2 in album M-958\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e3. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiegfried\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Forest Murmurs\u003c\/span\u003e  (8:31)\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 December 1941\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eMatrices: CS 070161\/2\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eUnpublished on 78 rpm\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e In Nature’s Realm, Overture, Op. 91\u003c\/span\u003e  (11:58)\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 December 1941\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eMatrices: CS 070167\/9\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 11-8639\/40 in album M-975\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e5. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e On the Shores of Sorrento from \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eAus Italien\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e, Op. 16\u003c\/span\u003e  (9:56)\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1941\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eMatrices: CS 070171\/2\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 18535\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHAUSSON\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony in B-flat, Op. 20\u003c\/span\u003e\u003cbr\u003e\n6. 1st Mvt. - Lent - Allegro vivo  (11:19)\u003cbr\u003e\n7. 2nd Mvt. - Très lent  (7:21)\u003cbr\u003e\n8. 3rd Mvt. - Animé  (11:05)\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1941\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eMatrices: CS 070171\/2\u003c\/span\u003e · \u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 11-8491\/4 in album M-950\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eChicago 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;\"\u003e Frederick Stock\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer:  Mark Obert-Thorn\u003cbr\u003e\nAll recordings made in Orchestra Hall, Chicago\u003cbr\u003e\nCover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist).\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eTotal duration:  75:42\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":59710275354958,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":59710275387726,"sku":null,"price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX050_a061576e-c9d7-41b6-9dd3-cc19ef24e542.jpg?v=1781189270"},{"product_id":"pabx050-cd","title":"FREDERICK STOCK and the Chicago Symphony, Vols. 1-6 (1930-41) - 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