{"title":"Mahler","description":"Gustav Mahler (7 July 1860 – 18 May 1911) was an Austro-Bohemian late-Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century. In 2016, a BBC Music Magazine survey of 151 conductors ranked three of his symphonies in the top ten symphonies of all time.\u003cbr\u003e\u003cbr\u003eBorn in Bohemia (then part of the Austrian Empire) to Jewish parents of humble circumstances, the German-speaking Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner, Mozart, and Tchaikovsky. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.\u003cbr\u003e\u003cbr\u003eMahler's œuvre is relatively limited; for much of his life composing was necessarily a part-time activity while he earned his living as a conductor. Aside from early works such as a movement from a piano quartet composed when he was a student in Vienna, Mahler's works are generally designed for large orchestral forces, symphonic choruses and operatic soloists. These works were frequently controversial when first performed, and several were slow to receive critical and popular approval; exceptions included his Second Symphony, Third Symphony, and the triumphant premiere of his Eighth Symphony in 1910. Some of Mahler's immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Dmitri Shostakovich, Benjamin Britten, Leonard Bernstein and Peter Maxwell Davies are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955 to honour the composer's life and work.","products":[{"product_id":"pasc416","title":"HORENSTEIN Mahler: Symphony No. 5 (1961) - PASC416","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\u003cb\u003eMahler \u003c\/b\u003eSymphony No. 5\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\"\u003eLive recording · 1961\u003cbr\u003eTotal duration: 75:52 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJascha Horenstein, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eHall of Fame Review\u003c\/b\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eGreat conductors surpass talented \nconductors, yet on occasion they also surpass themselves. This live \nMahler Fifth from the Edinburgh Festival in 1961 feels like one of the \ngreatest nights in Horenstein’s life. It’s certainly one of the greatest\n nights in the life of this symphony. He takes the music into regions \nwhere today’s standardized Mahler never dares to go. In the uncanny way \nthat born conductors can make inspiration flow directly from the baton, \nhere even the bare opening trumpet call portends something very special.\n \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein achieved one of his earliest\n successes conducting the Mahler Fifth in 1927 with the Berliners, and \none wonders what his career arc would have been like without the \ndisastrous intervention of Nazism. In the postwar era he wasn’t one of \nthe luckiest émigré conductors—he found himself lionized as a cult \nfigure but otherwise saddled with second- and third-rate orchestras far \ntoo often. His real stature was just beginning to be recognized on a \nwider scale when he died in 1973, just shy of his 75th birthday. The \nscarcity of recordings with a top orchestra made it seem that a famous \none like his Mahler Third with the London Symphony might almost be a \none-off. Fortunately, when the BBC Legends label began to unearth an \nabundance of live recordings, the real story began to jell—no conductor \nhas benefitted more from posthumous concert releases than Horenstein. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eYet even by this measure, the Edinburgh\n Mahler Fifth (one of three different accounts that have been discovered\n in recent years) is extraordinary. It bursts three myths in one go: the\n myth that Horenstein was careless about orchestral execution, that top \nEuropean orchestras had all but forgotten him, and that the Berlin \nPhilharmonic in the Karajan era knew almost nothing about playing \nMahler. In a recent \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n review, Jim Svejda says, quite rightly, “What will initially amaze you \nis the extent to which the orchestra plays the Mahler Fifth as though it\n were an item from the standard repertoire, which of course it most \ncertainly was not in 1961. The playing is shot through with a bracing \nconfidence and élan.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTogether, Svejda and Henry Fogel have \npraised this release (in issue 38:2) with such well considered judgment \nthat I can offer only a footnote and a rousing cheer of agreement. For \nintensity, originality, deep understanding, and comprehensive sweep, \nHorenstein’s Edinburgh Mahler Fifth is one for the ages. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHuntley Dent\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo call this a release of enormous \nimportance is to understate the case. Collectors know Horenstein as one \nof the great Mahler conductors of the 20th century, but one who lacked \nbig-label recording contracts. He made a few extraordinary commercial \nstudio recordings of Mahler, including superior stereo recordings of \nNos. 1, 3, and 4 along with some scrappy monaural efforts for Vox. The \nrest of his Mahler, like this, comes from broadcasts of live \nperformances. Until now we have been missing a Fifth and a Second. Let’s\n hope there is a Second out there somewhere to complete the cycle, but \nat least we now have the Fifth. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnd what a performance this is! Working\n with one of the world’s great orchestras, at the Edinburgh Festival, \nHorenstein fashions a reading of extraordinary drama and range. What has\n always distinguished his Mahler conducting was that, unlike most, he \nfound a way to encompass the huge scope and variety of Mahler’s musical \nimagination into one unified performance. Horenstein brings lyrical \nbeauty and richness, rhythmic tension and snap, and extreme contrasts of\n tempo and dynamics. Moreover, he is a master of Mahler’s almost \nschizophrenic melding of the sublime and the vulgar, the mystical and \nthe anguished. Most Mahler performances concentrate on one or another \naspect of Mahler’s complex, multi-faceted world. Horenstein manages to \nencompass it all. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat makes Mahler’s music a feasting \nground is its emotional range, giving conductors an ability to wallow in\n any particular one of the emotional worlds the music inhabits, and a \njustification for doing so. And performances can be enormously \nsatisfying while focusing on the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAngst\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or the sublime beauty, the love of nature, the hedonism, or the \nvulgarity, or even the rage that can be found in the scores. What makes \nHorenstein unique is that he balances all of those elements more evenly \nthan virtually anyone, and does so without seeming calculation or \nreticence. He is clearly involved and at home in all of Mahler’s crazy \nworld, not just parts of it. He goes deeply into the music; for \ninstance, we never forget in this performance that the first movement is\n a funeral march. We hear that from the opening trumpet call, which has a\n remarkable gravitas about it, a mood that continues throughout the \nmovement, but miraculously with no loss of momentum or urgency. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne of the impressive aspects of \nHorenstein’s conducting, in Mahler and in other composers, is his \ncareful attention to balances. In Mahler’s complex scores, there are \nmany musical incidents going on simultaneously, and the music requires \nan ear for balance and texture that allows everything to be heard in the\n correct proportion, without the clarity minimizing the cumulative \nimpact. In this performance, even big climaxes are crystal clear \n(despite the sonic limitations of the recording); we discern multiple \nvoices and still feel the impact of the whole. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRecordings in my collection range from \napproximately 67:00 to 76:00; at 74:37 Horenstein falls on the slow end \n(the 75:52 listed in the headnote includes 1:15 of applause). But \nnowhere does the performance feel slow, because of the sharp rhythmic \ncontours and the sense that it is always headed somewhere, and because \nthere is a far greater variety of tempo than there is in most \nperformances. There are sections that, if you compared them to \nKondrashin or Walter (the two fastest conductors in my library), \nHorenstein would seem quite similar. There are other sections where he \nmay even be slower than Tennstedt or Barbirolli. What is most \nremarkable, however, is his ability to stitch those extremes together \ninto a unified whole with real shape to it. Often performances with such\n great extremes of tempo lose the overall arch of the music, but not \nhere. A good part of his success is the smooth and perfectly judged \ntempo changes that he manages. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnother strength of the performance is \nthe beauty of the string playing, and the richness of color and texture \nthat he gets from the Berlin Philharmonic. This is no accident; all one \nneeds to do is listen to the last movement of his LSO recording of the \nMahler Third Symphony to appreciate fully Horenstein’s ability to draw \nstring playing of great beauty from an ensemble. In the famed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagietto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n this quality is wrenchingly beautiful, and it echoes in the mind’s ear \nlong into the rambunctious finale. Despite the richness and variety of \nstring sound, and the slow tempo for the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagietto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Horenstein’s performance comes across as tender and to some degree \nrestrained, rather than the kind of urgent cry from the heart that it \ncan be with, for example, Bernstein. I don’t believe any one approach is\n more \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eright \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethan \nthe other; both are valid explorations of Mahler’s immense and \nmulti-faceted world. Part of Horenstein’s success is the very wide \ndynamic range he employs, with many gradations between \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efortissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Horenstein also employs, tastefully, portamento effects, strings \nsliding from one note to the next. That was a common feature of \norchestral (and solo) string playing in the early 20th century, and is \nsingularly appropriate to Mahler. That is one of the reasons for the \ngreat success of his recording of the Third Symphony, and so it is here.\n \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSome might find Horenstein’s finale a \nbit too slow for their taste. As one starts to listen to it, one wants \nto move it ahead a bit. However, it fits his overall conception and, \ndespite the tempo and the weight, it never loses its momentum. This \nmusic has a relationship with Wagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Meistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and one senses that here more than in many performances. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Berlin Philharmonic players give \nthe conductor their all. This must have been one of the BPO’s earlier \nMahler performances, but they play it with conviction. The recorded \nsound is somewhat gritty and compressed, but more than listenable to \nanyone who is used to historic recordings. I listened to the XR stereo \nversion, which is Pristine’s attempt to capture some sense of space and \nambience; it succeeded in doing that. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose of Pristine states that \nthere was a short sequence near the end missing, and he replaced it from\n another Horenstein Mahler Fifth (apparently there are two others \nextant, one with the London Symphony and one with the Goteborg \nSymphony); the edit is not noticeable, even when one is listening for \nit. As usual, Pristine supplies minimal notes: a helpful comment from \nRose about this production and an informative, if brief, note from the \nconductor’s cousin Misha Horenstein. This is one of the most important \ndocuments yet released by Pristine. Now let the search for a Horenstein \nMahler Second begin in earnest, so we can have the complete cycle. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e \u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong those with a passion for Mahler \nsymphonies it would be difficult to overstate the importance of this \nrecording. After the version of this very work that Bruno Walter \nrecorded with the New York Philharmonic in 1947, the first great Mahler \nrecordings of the post-War era were those of the First and Ninth \nsymphonies that Jascha Horenstein made in 1953 with the decidedly \nlow-powered Vienna Symphony (still available on Vox 5508). Subsequent, \nsonically superior studio recordings of the First and Third—together \nwith various live versions of several of the others—only confirmed what \nthose early recordings clearly implied, that Jascha Horenstein was one \nof the most potent and individual Mahler conductors that history has \nknown. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRecorded live at the 1961 Edinburgh \nFestival—well before it became all but overshadowed by the annoying, \npathologically trendy Fringe—this Berlin Philharmonic performance is one\n of three Horenstein Mahler Fifths that have recently surfaced and is, \naccording to the note the conductor’s nephew Misha supplied for its \nfirst CD appearance “by far the most dramatic, a white-hot, \ntension-filled, powerfully driven performance.” While it’s certainly all\n of that, it’s also a good deal more. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat will initially amaze you is the \nextent to which the orchestra plays the Mahler Fifth as though it were \nan item from the standard repertoire, which of course it most certainly \nwas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in 1961. \nThe playing is shot through with a bracing confidence and élan—listen, \nfor instance, to the swaggering horns and the beginning and end of the \nscherzo: If they don’t raise the goose bumps (or the blood pressure), \nyou might want to call your endocrinologist in the morning—and in fact \nfrom first to last the performance sounds much more “lived in” than the \nself-conscious, smooth-shod monstrosity Karajan made of the piece a \ndozen years later with the same orchestra. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut along with the intensity that \nMischa Horenstein notes comes a refinement and sensitivity that are even\n more striking. In the scherzo’s trio, the phrasing has an aching \ndelicacy that few others can muster, while the final movement ambles \nalong with such witty nonchalance that for once it never threatens to \nbecome the head-long horserace it so often is. (In his famous EMI \nrecording, John Barbirolli also proved that speed and excitement aren’t \nalways the same thing.) The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagietto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003enot\n only unfolds with a completely unforced ease but it also seems to do so\n in a single, unbroken phrase (a reminder perhaps that Horenstein, in \nhis youth, served as an assistant to Wilhelm Furtwängler). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eNeedless to say, the off-the-air \nrecorded sound is hardly state-of-the-art, though the ear quickly \nadjusts. And if Bernstein (DG), Tennstedt, Kubelík, Gary Bertini, the \nrecent Iván Fischer and the aforementioned Barbirolli remain the top \nchoices for modern Mahler Fifths, as an historic, human, and musical \ndocument, this one can’t be missed. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJim Svejda\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC416.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Horenstein in electrifying form in this 1961 Mahler 5th with the Berlin Philharmonic\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eElusive recording finally transferred and XR remastered from off-air broadcast recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eI was contacted earlier this year by Misha Horenstein, cousin of the \ngreat conductor, with the idea of remastering and releasing rare and \nspecial recordings from the Maestro's career. The Mahler Fifth was the \nmost notable gap in Horenstein's extensive recorded legacy and this \noff-air recording of a blazing Edinburgh Festival concert with the \nBerlin Philharmonic was regarded as by far the most promising place to \nstart a new Horenstein series at Pristine.\u003c\/p\u003e\n\u003cp\u003eI've pulled out all the stops to try and bring out as much of the \npassion and brilliance of the performance as remains in the recording, \nwhilst eliminating or reducing crosstalk, interference, a good deal of \nhiss, swish and other defects. A very short sequence towards the end of \nthe piece was missing from the original source, and here we've patched \nin one of the other Horenstein recordings, matched as closely as \npossible to this in order to maintain the musical flow.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 5\u003cem\u003e\u003c\/em\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003eRecorded Edinburgh Festival, 31 August, 1961\u003cbr\u003eUsher Hall, Edinburgh, Scotland\u003cbr\u003eLive broadcast recording \u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e - conductor\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC416.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC416.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eJascha Horenstein's Mahler 5\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFor many years it was assumed that no recordings existed of \nHorenstein conducting Mahler's Fifth Symphony, but in the last few years\n no less than three have surfaced: with the London Symphony Orchestra, \nthe Goteborg Symphony Orchestra, and this one with the Berlin \nPhilharmonic, recorded live during the 1961 Edinburgh Festival.\u003c\/p\u003e\n\u003cp\u003eHorenstein first conducted Mahler's Fifth in Berlin in 1927 with the \nBerlin Philharmonic. That concert brought him his first really big \nsuccess as a young conductor, with extremely favorable reviews from \nhighly respected musicians and critics such as Walter Schrenk \n(\"Horenstein is the most significant and by far the most gifted of our \nyoung generation of conductors\"), Klaus Pringsheim, formerly an \nassistant of Mahler's (\"he reminds one of the young Klemperer who, it is\n said, reminded his audiences of the young Mahler\"), and Rudolf Kastner,\n who had attended the world premiere of the Fifth Symphony conducted by \nMahler in 1904 (\"Since then I have rarely heard the piece as I did now… \nHorenstein is one of the most remarkable conductors we have encountered \nin recent years and has, like few others, a most particular affinity for\n Mahler’s music\"). It was this concert that secured Horenstein's \nreputation as one of the finest interpreters of Mahler's music by a new \ngeneration of conductors that had no personal contact with the composer,\n and it must have been with these memories in mind that he approached \nthe performance in Edinburgh presented here.\u003c\/p\u003e\n\u003cp\u003eOf the three extant recordings of the symphony conducted by \nHorenstein, the Berlin Philharmonic performance is by far the most \ndramatic, a white-hot, tension-filled, powerfully driven presentation \nthat confirms Horenstein's widely recognized and unrivaled authority in \nthis repertoire.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975660173,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975660237,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975660301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975660365,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC416_306929d1-a2e6-4afa-a7c1-2dcab7600e0a.jpg?v=1487682233"},{"product_id":"pasc440","title":"HORENSTEIN Mahler: Symphony No. 8; Wagner: Opera Excerpts (1959\/62) - PASC440","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 8 in E flat Major (\"Symphony of a Thousand\")\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eDer fliegende Holländer - Overture\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eTannhäuser - Bacchanale\u003cspan\u003e\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eSiegfried Idyll\u003c\/span\u003e  Siegfried Idyll\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive and studio recordings, 1959 and 1962\u003cbr\u003eTotal duration: 2hr 1:13  \u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eJascha Horenstein, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWe can be nothing but grateful to Andrew Rose for his stunning remastering of this riveting performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe word “classic” is sometimes \napplied to a recording carelessly, but not in this case. This \nperformance has been praised almost universally by reviewers since it \nfirst saw the light of day on Discocorp LPs. You can read positive \nreviews in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n by William Youngren (7:4), Benjamin Pernick (20:3), Christopher Abbott \n(22:6), and me (22:5), and I included it on my 1999 Want List. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n release in 1999 seemed to be the last word, since it derived from the \nBBC’s own master tape. The original broadcast was in stereo (single \nmicrophone stereo, one must note), and while there are some balance \nproblems (some soloists are too distant), the overall sound was quite \nsatisfying. So what could Pristine offer that would improve on that? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe surprising answer is: quite a bit! \nPristine’s XR remastering has opened up the soundstage considerably, and\n the result is a very meaningful improvement even over the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n release in terms of clarity, impact, and firmness and focus of the bass\n line. There is a sense of space around the performance that did not \nexist before; the sound is akin to sitting mid-balcony in a good hall. \nThose who have admired this recording and felt satisfied with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e version are urged to reinvest. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI will not take a lot of space here \ndescribing the merits of the performance, as interested readers can look\n up any of the prior reviews for more detail. Briefly, what Horenstein \nmanages in this performance is what appears to be the perfect balance \nbetween spontaneous propulsion and intense drama on the one hand, and a \nfirm sense of organizational structure on the other. Moment-to-moment \ndramatic impact is never slighted, but there is a sense of inevitability\n about the direction of the performance so that it is always headed \nsomewhere. Horenstein judges tempo relationships perfectly, and makes \nhis transitions of tempo almost imperceptible as they are happening. \nThat is one of the major ingredients of a performance that flows. The \nother is appropriate relationships of dynamic variations, and again \nHorenstein hits his mark. The opening “Veni Creator Spiritus” has great \npower, but there is enough held back for the development of an 80-minute\n journey, and a final climax of immense weight and almost unbelievable \nfervor and intensity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe soloists are all adequate or \nbetter, and the choral and orchestral forces perform with remarkable \neffectiveness given that this is not only an unedited live performance, \nbut that they all had to learn the work for the event. Yes, there the \nmomentary instrumental bobbles and ensemble lapses, but they are \nremarkably few and far between. There are rare performances that even \nwhen heard years or decades after they occurred still have about them a \ngenuine sense of occasion. This is one of those. It is as if \neveryone—performers, conductor, and audience—were making a spectacular \ndiscovery at the same time. And we have the ability to relive it, \ncomplete with the unison roar of the usually staid English audience at \nthe end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Wagner excerpts were originally \nrecorded for the Readers’ Digest label, and reissued (coupled with a \npowerful Brahms First Symphony) on Chesky. I don’t have the Chesky at \nhand for comparison. Andrew Rose claims that the original version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried Idyll \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003edropped\n in pitch gradually, and I do not know whether Chesky corrected it. But \nit is fine here, and the sound of these 1962 studio recordings is warm \nand full. Horenstein’s way with Wagner is similar to his Mahler: a \nsuperb balance between impulsiveness and structure, along with genuine \nbeauty in the lyrical passages. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMinimal notes, and no texts, as is \ntypical of Pristine—but we can be nothing but grateful to Andrew Rose \nfor his stunning remastering of this riveting performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC440.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein's tremendous stereo Mahler 8 and Wagner in fabulous XR-remastered sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n word “classic” is sometimes applied to a recording carelessly, but not \nin this case. We can be nothing but grateful to Andrew Rose for his \nstunning remastering of this riveting performance\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eI was urged by the conductor's cousin, Misha Horenstein, to tackle \nthe BBC's splendid experimental stereo recording of Mahler's 8th \nSymphony, made with a single stereo microphone set-up in the vast, \nacoustically-untamed space of the Royal Albert Hall, in the hope that XR\n remastering might bring a greater focus and a better sense of the \nvastness of the forces employed.\u003c\/p\u003e\n\u003cp\u003e\"I can't praise it highly enough. The difference is immediate from \nthe opening bars, where the organ hits you where it should, in the \nstomach, but the gain is evident throughout. This is especially true of \nthe bass line, which now has the depth and weight missing in the \n[previous issue]. Your remake also compliments the vertical and \nhorizontal spaces of the Albert Hall, bringing the sound forward as \nthough you are sitting in better seats than before...\" came the \nresponse, to which I find little to add (beyond noting the high number \nof coughs I had to remove!).\u003c\/p\u003e\n\u003cp\u003eBy contrast the Wagner, whilst derived from excellent 1962 studio \nrecordings engineered by legendary Decca man Kenneth Wilkinson, suffered\n from major pitch problems in the Siegfried Idyll, which  dropped \ngradually from an initial A=443Hz to A=430Hz over the course of the \nrecording, the full correction of which has only recently become \ntechnically possible. These recording, too, have benefited from the \nadded fullness of sound brought by XR remastering that so pleased Mr. \nHorenstein in the Mahler.   \u003cbr\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eDer fliegende Holländer - Overture\u003cspan class=\"bodybigblue\" style=\"font-size: medium;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eTannhäuser - Bacchanale\u003cbr\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eSiegfried Idyll\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecording producer: Charles Gerhardt\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 29-30 September 1962 for Reader's Digest\u003cbr\u003eWalthamstow Town Hall\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 8 in E flat Major (\"Symphony of a Thousand\")\u003cspan class=\"bodybigblue\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eJoyce Barker\u003c\/b\u003e (sop.I) - Magna Peccatrix\u003cbr\u003e\u003cb\u003eBeryl Hatt\u003c\/b\u003e (sop.II) - Mater Gloriosa\u003cbr\u003e\u003cb\u003eAgnes Giebel\u003c\/b\u003e (sop.III) - Una Poenitentium\u003cbr\u003e\u003cb\u003eKirsten Meyer\u003c\/b\u003e (alt.I) - Mulier Samaritana\u003cbr\u003e\u003cb\u003eHelen Watts\u003c\/b\u003e (alt.II) - Maria Aegyptiaca\u003cbr\u003e\u003cb\u003eKenneth Neate\u003c\/b\u003e (ten.) - Doctor Marianus\u003cbr\u003e\u003cb\u003eAlfred Orda\u003c\/b\u003e (bar.) - Pater Ecstaticus\u003cbr\u003e\u003cb\u003eArnold van Mill\u003c\/b\u003e (bass) - Pater Profundus\u003c\/p\u003e\n\u003cp\u003eBBC Chorus; BBC Choral Society; Goldsmiths' Choral Union; Hampstead \nChoral Society; Emanuel School Boys' Choir; Orpington Junior Singers\u003c\/p\u003e\n\u003cp\u003eMusical Associate: Berthold Goldschmidt\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHugh Maguire\u003c\/b\u003e, leader; \u003cb\u003eCharles Spinks\u003c\/b\u003e, organ\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded for BBC broadcast, 20 March 1959, Royal Albert Hall, London\u003c\/p\u003e\n\u003c\/li\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\/PASC440.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC440.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975664013,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975664077,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975664141,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC440_642495a8-82ec-46c9-8fae-49f625e7bd91.jpg?v=1487682236"},{"product_id":"pasc426","title":"HORENSTEIN Mahler: Symphony No. 9 (1960, Vienna) - PASC426","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMahler \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive recording · 1960 Vienna Festival\u003cbr\u003eTotal duration: 79:11\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003eJascha Horenstein, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eVienna Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe finest live performance of the Mahler Ninth that I’ve ever heard.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is the finest live performance\n of the Mahler Ninth that I’ve ever heard. I’ve been fortunate to hear \ntwo excellent renditions in concert, one by Christoph von Dohnányi and \nthe Cleveland Orchestra, the other by Jacques Lacombe and a greatly \naugmented New Jersey Symphony. Horenstein’s surpasses them in \nunderstanding and dramatic tension. The conductor’s cousin Misha \nHorenstein writes that this symphony in 1960 had not yet been accepted \nby the Viennese players and public, and that the orchestra gave the \nconductor a rough time in rehearsals. Horenstein must have worked some \nmagic at the concert, for the playing is stupendous. This was the final \nconcert of the 1960 Vienna Festival, which included a tribute to Mahler \non his centenary. It was Horenstein’s first appearance on a Viennese \nstage since before the Second World War, despite having recorded \nextensively in Vienna for Vox in the 1950s. I believe the conductor had a\n very personal message for his audience in programming this symphony on \nhis return. Never in my experience has Mahler’s bitterness at \nunreasoning hatred—namely the anti-Semitism which drove him from his \nViennese post a year prior to his starting work on this symphony—been \nbetter expressed than by Horenstein, particularly in the middle two \nmovements. I’m sure Horenstein identified with this personally. Leonard \nBernstein wrote in his Norton Lectures that Mahler had foretold all the \ndisasters of the 20th century in this symphony. I’ve always found this \nto be a rather grand pronouncement, but upon hearing the present \nperformance, I can believe it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein regards the Ninth as an \nintensely modern work, conducting it with sharp accents and shrieking \norchestral colors. Listeners familiar with his superb Arnold Schoenberg \nLP for Vox will not be surprised at this predilection. Horenstein’s \ntempos, slightly on the brisk side throughout, are beautifully \nintegrated to show the work’s structure. The struggles in rehearsal \nprobably contributed to the overwhelming atmosphere of tension in the \nperformance. The opening movement vacillates between death as a noble \nleave taking and the torturous ache of Yeats’s “foul rag and bone shop \nof the heart.” At times the composer needs to catch his breath from all \nthat pressure. One wonders if this music also is about the European \nhumanistic culture Mahler may have felt was dying with him. Horenstein \nis one of the few conductors to observe Mahler’s instruction “very \nrough” in the next movement. Here the wicked treatment of the Ländlers \ndemonstrates how a folk culture can develop a collective neurosis, as in\n Freud’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCivilization and Its Discontents\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. This cynical take on a traditional form parallels what Ravel would do later in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The third movement is an intensely bitter experience, a nightmare of \nmockery. Even a section of nature poetry, recalling the composer’s \n“Blumine,” has fatal overtones. The last movement reminds us of Mahler’s\n admiration for the pathbreaking slow finale of Tchaikovsky’s \n“Pathétique” Symphony. This is like the death of the hero in epic \npoetry, the operatic death scene Mahler never wrote—with hints of \nSiegfried’s Funeral Music. We hear Horenstein stamping on the podium \nalong with a phrasing he wants. A slight disagreement over an entrance \nin the strings near the end barely mars the total experience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose has taken a monaural \nmaster tape that clearly had some problems and contrived sound that is \nfull, warm, and well balanced, with an excellent dynamic range. Heard in\n Pristine’s ambient stereo, the sonic perspective is especially \nluminous. My favorite recording of the Ninth in true stereo is the 1969 \nPhilips version by Bernard Haitink. Among digital accounts, I like Kurt \nSanderling with the Philharmonia and Lorin Maazel in Vienna. The present\n Horenstein concert now is one of the essential Ninths in my collection,\n a riveting and harrowing experience you will not easily forget. If \nMahler was a prophet, then the Horenstein recording is his Talmudic \nexegesis. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein made the first studio \nrecording of Mahler’s Ninth with this same orchestra in 1952 for Vox \n(the earlier Bruno Walter recording with the VPO was either mostly or \nentirely live). That recording has long been admired by collectors and \ncritics, but all have noted its rather dry sound and somewhat scrappy \norchestral playing. That has been supplemented by two live performances \nbefore this one: one with the London Symphony and one with the French \nNational Radio. A 1966 LSO performance was first issued on Music \u0026amp; \nArts. BBC Legends “officially” released a 1966 LSO performance, which I \nhad always assumed was the same as the Music \u0026amp; Arts version but with\n better sound (Christopher Abbott reviewed it in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e25:1). In fact, a close listening to both in preparation for this review shows that they are \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enot \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n same performance. Coughs in the audience differ, the audience applauds \nafter the first movement on the BBC edition but not the M\u0026amp; A, and \nthe finale is notably slower on the M\u0026amp; A. Since M\u0026amp; A does not \nprovide a date any more specific than “1966,” we cannot be certain of \nits provenance. Additionally, there is a 1969 American Symphony \nOrchestra performance on Music \u0026amp; Arts that has not been reviewed in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and that is not as well focused and purposeful as any of the earlier ones. A look through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive will bring you a number of reviews of different Horenstein performances of this work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe general favorite among not only \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereviewers\n but many collectors has been the BBC Legends stereo release of the \nSeptember 15, 1966 LSO performance at the Royal Albert Hall from a Proms\n concert. Given that this is monaural (though Pristine’s XR Ambient \nStereo process gives a very nice sense of air and space around the \norchestra) and given that the Vienna Symphony Orchestra is not the \npremier orchestra in Vienna, one might expect the BBC Legends release to\n continue to be preferred. It is not so simple. Both are wonderful \nperformances, and Pristine’s sound is excellent. It is reported by Misha\n Horenstein (the conductor’s cousin) on the Pristine web site that the \nVienna orchestra was hostile both to Mahler’s music and to Horenstein at\n this time, but you would never know it. They play with commitment and \nintensity throughout. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein’s Mahler has always \ninhabited a special world between the extremes of other conductors. Not \nas overtly emotional and intense as Bernstein, nor as gentle and warm as\n Walter, nor as granitic as Klemperer, but encompassing all of those \nelements in balance, Horenstein was without question one of the great \nMahler conductors of the 20th century. His affinity for the style led \nhim to demand, and get, a tasteful use of portamento from his string \nplayers (wonderfully effective in his studio LSO recording of the Third \nSymphony’s finale), so that even while his rhythms are always taut and \nfirmly sprung, there is lyrical beauty to be heard throughout. The inner\n movements here are wonderfully grotesque, and potent at slightly faster\n tempos than the LSO performance. The long final \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is, as always with Horenstein, deeply moving without becoming maudlin. \nHorenstein’s ability to incorporate in a balanced way all of the \nextremes in Mahler’s music, to give shape to the overall without \nslighting the drama of the moment, was unique. It is that sense of \nproportion that is a main hallmark of his Mahler performances. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIf you already own the BBC Legends \nperformance this is probably an extravagance unless you are (as I am) a \ncommitted fan and collector of this conductor. But if you don’t, one \ncould easily make the case that this performance is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eHorenstein\n Mahler Ninth to own. It has a slight edge over the BBC in firmness, \nwithout giving up any of the music’s beauty. Once again, Pristine has \nperformed a real service. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC426.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein is masterful in this brilliant, previous unreleased 1960 Vienna Mahler 9\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This performance is the Horenstein Mahler Ninth to own\"\u003cbr\u003e - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003eConductor Jascha Horenstein has long been regarded as one of the \nfinest exponents of the music of Gustav Mahler. His 1952 studio \nrecording of the Ninth Symphony was the first such recording to be \ncommercially released (the 1938 Walter was partly or entirely live; a \n1950 studio effort by Scherchen only appeared long after it was \nrecorded). A small handful of other recordings, made between the \nmid-1950s and the late sixties and generally live, have appeared over \nthe years, but never this particular rendition from the Vienna Festival \nof 1960 which, over three weeks, celebrated Mahler's centenary. The \nconductor's cousin, Misha Horenstein, who has once again generously \nsupplied the source recording for this release, writes eloquently on the\n background to this performance on our website (\u003cem\u003esee above\u003c\/em\u003e).\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003eTechnically the remastering proved trickier than first hearing \nsuggested it might. Although there were no major or obvious flaws beyond\n one or two instances of tape dropout, microphone positioning, coupled \nwith a mono sound, made for a somewhat uncomfortable listen during \nlouder passages, with a mid-range stridence in the upper strings that \ntook some effort to tame without sacrificing the direct energy and \nvivacity of the central movements.\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003eThis is a mono recording, but the aforementioned issues aside, it's \nnow a very good one - especially given Pristine's Ambient Stereo \ntreatment, which I strongly recommend here. The orchestral sound is \nespecially clear, full, direct and vivid.\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003eHappily the audience generally saved their coughing, shuffling and \nthroat-clearing for lengthy gaps between movements which, in order to \nfit the music to CD duration, have been edited down significantly. The \nresult is one of the great Ninth performances, offered for the first \ntime, and in superb sound quality.\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"center\"\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 9 \u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eVienna Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded 22 June 1960, Konzerthaus, Vienna\u003cbr\u003eClosing concert of the 1960 Vienna Festival «Wiener Festwochen»\u003cbr\u003eRecording from the archive of Misha Horenstein\u003cbr\u003eFirst publication of this recording\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\/PASC426.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC426.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5fCommentary by Misha Horenstein\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis \nrecording documents the closing concert of the 1960 edition of the \nVienna Festival «Wiener Festwochen», part of which was devoted to a \ncelebration of the centenary of Mahler’s birth. This included \nperformances of his music, lectures, publications and an exhibition \ncalled “Mahler and his Time,” and was the first occasion since the \nSecond World War that Vienna celebrated the life and work of one of its \nmost illustrious citizens.\u003c\/p\u003e\n\u003cp\u003eBesides\n Horenstein, other conductors appearing at the festival included Bruno \nWalter in Mahler’s Fourth; Herbert von Karajan, who presented “Das Lied \nvon der Erde” with the Vienna Philharmonic; Josef Keilberth, who \nconducted Mahler’s Eighth; Klemperer and the Philharmonia orchestra in a\n complete cycle of all the Beethoven symphonies, and Karl Böhm, who led a\n concert performance of Alban Berg’s opera “Lulu”. In this lineup, \nHorenstein was not the star attraction.\u003c\/p\u003e\n\u003cp\u003eThe \nchoice of the Mahler’s Ninth Symphony to end the three-week long \nfestival was not without controversy. Erwin Ratz, President of the \nInternational Gustav Mahler Society, complained that “because of its \nextraordinarily pessimistic and sombre character”, the Ninth was not a \nsuitable work for a final celebratory concert. His preference was for \nthe Seventh Symphony, a much more suitable and appropriate choice but \nalso motivated by self-interest, since his organization had recently \npublished the score as the first volume in the critical edition of \nMahler’s complete works. Ratz’s suggestion had been overruled by higher \npowers and in a letter to Horenstein he appealed for support: \u003c\/p\u003e\n\u003cp\u003e“I am\n making this suggestion to you because I can already predict how people \nwill react to the Ninth. To my great dismay I have also had to \nexperience this not only in Vienna but also in Amsterdam and other \nplaces. It is, above all, in the ironic and bitter nature of the two \nmiddle movements that people see their own reflection and to which they \nthen react so bitterly.\"[1]\u003c\/p\u003e\n\u003cp\u003eRatz \nwas right. Unlike in London and New York, Mahler's music in general and \nthe Ninth Symphony in particular did not find a receptive home among \npeers and audiences in Vienna during the early 1960s. It had to wait \nuntil Leonard Bernstein persuaded them a few years later that Mahler was\n a composer worthy of attention.\u003c\/p\u003e\n\u003cp\u003eHorenstein’s\n concert was given in the Konzerthaus auditorium by the same orchestra \nand in the same venue that hosted his professional debut as a conductor \nthirty-eight years previously, when the work played was Mahler’s First \nsymphony. Although the concert in 1960 was Horenstein’s first appearance\n on a Viennese stage since before the rise of Hitler, he had worked \nextensively in the Austrian capital, and with the same orchestra, as a \nrecording artist for Vox Records during the 1950s. These included his \nnow celebrated account of Mahler’s Ninth on that label, which for many \nyears served as the standard by which all subsequent recordings were \njudged.\u003c\/p\u003e\n\u003cp\u003eAlthough\n raised and educated in Vienna, Horenstein never managed to convince the\n Viennese public to embrace him with the same enthusiasm they bestowed \non some of his colleagues, and this June 1960 appearance was no \nexception. Part of the reason was that the orchestra did not warm to him\n personally or as a conductor, while for the Viennese public Mahler’s \nmusic was still under the cloud of anti-Semitic rejection.\u003c\/p\u003e\n\u003cp\u003eReliable\n documentation can back up this claim. Witnesses who attended both the \nrehearsals and the performance have testified that Horenstein had to \n“coax” the music out of “an unwilling and hostile orchestra” that \ntreated the work with scorn and derision. \"Immer-an-der-Wand-lang \/ \nImmer-an-der Wand-lang\", they intoned, mocking the opening bars of the \nScherzo movement, and did their best to sabotage the proceedings by \n“intentionally inaccurate playing.” Horenstein himself found the going \nrough and was “stressed out” during the rehearsal breaks.[2]\u003c\/p\u003e\n\u003cp\u003eUnder\n these circumstances, it is amazing that the result here is as good as \nit is. Horenstein’s absolute identification with the Mahler idiom, his \nunerring instinct for proportion and organization, his perfectly timed \nclimaxes resulting from the music’s natural flow, are here as evident as\n in any of his other five preserved recordings of this momentous and \nmonumental work.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cbr clear=\"all\"\u003e\n\u003chr width=\"33%\" size=\"1\" align=\"left\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e[1]    Cambridge Companion to Mahler, p.221\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e[2]    Hans Wollschläger, Moments musicaux - Tage mit T.W.Adorno, Wallstein Verlag, 2005\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975664461,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975664525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975664589,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975664653,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC426_7a892618-99e1-4337-b8ca-2adf81d39720.jpg?v=1487682238"},{"product_id":"pasc466","title":"SCHOENBERG, KEMPEN Mahler Rarities: Symphonies 2 \u0026 4 (1934\/50) - PASC466","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMAHLER\u003c\/b\u003e Symphony No. 2 (2nd mvt)\u003cbr\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive and studio recordings, 1934 \u0026amp; 1950\u003cbr\u003eTotal duration: 62:08\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eArnold Schoenberg \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eCadillac Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eCorry Bijster \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003ePaul van Kempen \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eHilversum Radio Philharmonic Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOn the cusp of “Mahler that never was,” two rare recordings escaped oblivion, much to our benefit578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eStill a controversial figure in his\n native Holland—as is his old boss, Willem Mengelberg—the Dutch \nconductor Paul van Kempen began his career playing in the second violin \nsection of the Amsterdam Concertgebouw Orchestra. During the World War I\n he served as the concertmaster of various German orchestras and by the \nlate 1920s had moved on to conducting. Those who take issue with his \nbehavior during World War II—in addition to conducting the Dresden \nPhilharmonic from 1934 to 1942, he also led regular morale-boosting \nconcerts for the Wehrmacht—tend to forget (if they knew it in the first \nplace) that he had become a German citizen in 1932. Unlike Mengelberg, \nwhose close collaboration with the Nazis led to a lifetime ban on \nfurther work in the Netherlands (which was later reduced to six years), \nvan Kempen was allowed to return, though not without serious protest. At\n one concert in 1951, the heckling became so intense that more than half\n the orchestra walked off the stage (whether in solidarity with the \naudience or out of sheer exasperation remains unclear). Ironically \nenough, it was in that same year that van Kempen began that \nextraordinary COA series of Tchaikovsky recordings upon which so much of\n his posthumous reputation rests, including an eviscerating version of \nthe “Pathétique” Symphony and the maddest ever \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCapriccio italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a performance whose manic tempo upheavals—while admittedly \nthrilling—should not be listened to without a precautionary dose of \nDramamine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf the mammoth rallentando in the \nopening bars of Mahler’s Fourth Symphony suggests a similar moment in \nthe famous Mengelberg recording, then what follows for the most part is a\n fairly straightforward, superbly-played Mahler Fourth in flawed but \ngenerally acceptable early 1950s recorded sound. The producer, Mark \nObert-Thorn, explains the sonic limitations as follows: “There is much \nvolume manipulation by the original engineers, some of which I was able \nto counteract; but other portions (principally toward the end of the \nthird movement) were so extreme as to be unfixable. Add to this the \ndistant miking of the soloist and some faint recording elsewhere, and \none can understand why this recording never had an ‘official’ issue.” As\n the climax of the third movement is the crowning glory of the entire \nwork, after all—and if Obert-Thorn says he can’t fix it, then \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enobody \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecan—for\n many listeners this will rule the recording completely out of court. \nThe distant miking proves a mixed blessing in the final movement, as \nCorry Bijster manages the fairly astonishing feat of sounding tremulous \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eand\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e matronly simultaneously. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eArnold Schoenberg’s recording of the \nsecond movement of the “Resurrection” Symphony poses other technical \nproblems, including a gap in the middle—“most likely lost during a \nchangeover to another record while using a single cutter” (Obert-Thorn \nagain)—and the usual aircheck clickpops and other noise. The \nperformance, on the other hand, is exceptional: pointed, fabulously \ncontrolled, yet bursting with Viennese swagger and charm. Furthermore, \nthe fact that it’s the only surviving example of one of the 20th \ncentury’s two great composers conducting someone else’s music sets the \nseal on its unquestioned historical importance. Is it worth Pristine’s \npremium price for 11 minutes of Schoenberg’s Mahler movement and a \nMahler Fourth you’ll probably only listen to a couple of times—\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eif that\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e? Unquestionably. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJim Svejda\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTitling this new release from Pristine Audio \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMahler Rarities\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is no exaggeration. As producer Mark Obert-Thorn tells us in a brief \nnote, “The present release brings together two supreme rarities within \nthe Mahler discography, one of which only exists in a single source, and\n the other so scarce it might just as well be the sole copy.” Inveterate\n collectors love to hear such words, and it’s primarily for them that \nthese historic recordings will be enticing. For his restoration \nObert-Thorn worked from problematic sources. The second movement of the \n“Resurrection” Symphony conducted by Arnold Schoenberg—the only \nsurviving account, evidently, of him leading any piece on disc other \nthan his own music—comes from a privately circulated transfer of \npre-grooved aluminum 78s whose origins are murky. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSchoenberg had just come to America, \nand despite his fearsome reputation, we hear a radio introduction by \nMilton Cross where he is called “the renowned composer,” and the \norchestra, presumably named after a car-company sponsor, is probably a \npseudonym for NBC’s Blue Network Orchestra. The new restoration has \nreduced surface noise and corrected pitch, yet it’s still gritchy and \nnarrow in dynamic range. At one point in the middle there’s a gap, \npresumably while the disc was being changed on a single cutter. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor all that, it’s invaluable to hear \none of Mahler’s earliest champions conduct this music, since unlike \nother disciples and acolytes—Klemperer, Walter, Mengelberg, Fried, and \nHorenstein—Schoenberg left no commercial Mahler recordings. The pacing \nand phrasing here are not unusual. There is controlled rubato and a \nprevailing affectionate mood (which may surprise Schoenberg-phobes). \nEnough personality comes through for us to judge that Schoenberg’s \napproach is slightly brisk and efficient, being neither as warm as Bruno\n Walter’s Mahler nor as malleable as Mengelberg’s. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eVan Kempen’s 1950 studio recording of \nthe Fourth Symphony never received an official LP release. Its only \nprevious appearance was as a supplement to a very expensive Mahler \ndiscography. That source was unobtainable, so Obert-Thorn worked from a \nCD-R in a private collection that held the unjoined 78-rpm sides. There \nwere sonic challenges here, too, mainly consisting of manipulated volume\n levels by the original engineers and too-distant miking of the soprano \nin the finale. But since this was van Kempen’s only commercial recording\n of a Mahler symphony, it has obvious historical value. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eVan Kempen played under Mengelberg in \nthe violin section of the Concertgebouw for a few years beginning in \n1913, but only the rallentando at the outset of the first movement \ndeclares any resemblance between them. Van Kempen’s pacing is swift, in \nthe vein of Benjamin Britten and Pierre Boulez, who both recorded \nnotably fast first movements. (Van Kempen takes 15:24 compared with \nBoulez’s 15:17 with the Cleveland Orchestra on DG.) On the evidence of \nthis performance, van Kempen’s Mahler is intriguingly personal, the very\n opposite of subscription fare. The first movement is one of the least \nbucolic I’ve ever encountered, with actual fierceness at times. Every \nnote is decisively placed. On its own, velocity is neither positive nor \nnegative; van Kempen uses it, like Toscanini at his best, in the service\n of intense concentration. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor whatever reason, the sound gets \ndimmer and more faraway in the second movement, robbing it of impact, \nmost notably at the beginning. The solo part for a mistuned “devil’s \nfiddle” isn’t brought forward but blends into the ensemble, another \ndrawback. Through all this one can still detect—and enjoy—van Kempen’s \nnatural, flowing manner in this music. One has to be prepared for \npatchy, diminished sonics, however. Because the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is string laden, it comes across better as a listening experience. The \ntenderness and lyric simplicity of van Kempen’s interpretation would \narouse envy in many Mahler conductors today. Unfortunately, the \nclimactic opening of Heaven’s gates is suppressed dynamically. The \nfinale is imbued with charm—not a quality I usually associate with van \nKempen—and soprano Corry Bijster is a relaxed, warm-voiced soloist. If \nonly she had been miked a little closer. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis release can’t be recommended to \nevery lover of Mahler, but if you have any historical inclinations, it \nwill prove fascinating. On the cusp of “Mahler that never was,” two rare\n recordings escaped oblivion, much to our benefit. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHuntley Dent\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC466.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eTwo incredibly rare symphonic Mahler recordings unearthed and restored!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"The\n performance is exceptional: pointed, fabulously controlled, yet \nbursting with Viennese swagger and charm ... it’s the only surviving \nexample of one of the 20th century’s two great composers conducting \nsomeone else’s music\" \u003cbr\u003e - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThe present release brings together two supreme rarities within the \nMahler discography, one of which only exists in a single source, and the\n other so scarce it might just as well be the sole copy. \u003c\/p\u003e\n\u003cp\u003eThe broadcast of Arnold Schoenberg conducting the second movement of \nMahler’s “Resurrection” Symphony stems from a unique radio transcription\n recording, probably taken down on a pre-grooved aluminum disc, which \nhas circulated on a tape transfer.  There is a gap in the middle, music \nmost likely lost during a changeover to another record while using a \nsingle cutter. \u003c\/p\u003e\n\u003cp\u003eThe performance is rare not only in the scarcity of its source, but \nalso for being the only recorded example of Schoenberg conducting a work\n by a composer other than himself.  Unlike other acolytes and members of\n Mahler’s inner circle who left complete recordings of one or more of \nhis symphonies (Bruno Walter, Willem Mengelberg, Otto Klemperer and \nOskar Fried), Schoenberg left only this movement, making it all the more\n valuable.\u003c\/p\u003e\n\u003cp\u003eThe choice of this work for the opening of a concert with the \n“Cadillac Symphony” (most likely a sponsor-dictated pseudonym for NBC’s \nin-house Blue Network Orchestra), given shortly after Schoenberg’s \narrival in America in 1934, is a tribute to Mahler’s early championship \nof the younger composer.  Perhaps surprisingly for someone not primarily\n remembered as a conductor, Schoenberg leads a performance with a \ndistinct personality, featuring a controlled rubato and a sure sense of \npacing.  (I might add that as noisy as this broadcast still sounds, I \nhave cleaned up a good many of the transient noises that plagued the \noriginal transfer, as well as correcting the pitch.)\u003c\/p\u003e\n\u003cp\u003eIf the huge rallentando at the end of the opening phrase of Paul van \nKempen’s 1950 recording of the Mahler Fourth brings Mengelberg to mind, \nthere is good reason.  For a few years beginning in 1913, van Kempen \nplayed in the violin section of the Concertgebouw orchestra, and knew \nthe elder conductor’s way with the symphony very well.  After that, \nhowever, it becomes more distinctly a van Kempen interpretation, with \nswift tempi and flowing lines.\u003c\/p\u003e\n\u003cp\u003eThis was van Kempen’s sole commercial recording of a Mahler work.  It\n was never released on LP, and its only previous CD appearance was as a \nsupplement to a very expensive Mahler discography.  It has been restored\n here from a CD-R containing the unjoined 78 rpm sides provided by a \nprivate collector, as original sets are so scarce none could be located \nto transfer directly. \u003c\/p\u003e\n\u003cp\u003eThe recording is problematic in many ways.  There is much volume \nmanipulation by the original engineers, some of which I was able to \ncounteract; but other portions (principally the climax toward the end of\n the third movement) were so extreme as to be unfixable.  Add to this \nthe distant miking of the soloist in the fourth movement and some faint \nrecording elsewhere, and one can understand why this recording never \nreceived an “official” reissue.  This new transfer at least makes it \nmore accessible to interested listeners than it has ever been before.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eMAHLER \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eSymphony No. 2 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e in C minor, \"Resurrection\" - 2nd mvt.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb style=\"font-size: small;\"\u003eArnold Schoenberg\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e, conductor\u003cbr\u003e\u003cb\u003eCadillac Symphony Orchestra \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eFrom the NBC broadcast of \u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e8 April 1934 in New York City\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eMAHLER\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003eSymphony No. 4\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e in G major\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eCorry Bijster\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003ePaul van Kempen \u003c\/b\u003econductor\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eHilversum Radio Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded January, 1950 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: 035751\/62\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Telefunken SK 3862\/7\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\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\/PASC466.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC466.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":31975952781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975952845,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC466_7e70fd5a-bfce-44cb-b716-f6a3594dfa7f.jpg?v=1487682574"},{"product_id":"paco094","title":"WALTER Mahler: Das Lied von der Erde (1960) - PACO094","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\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 18 \u0026amp; 25 April 1960\u003cbr\u003eTotal duration: 63:40\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eMildred Miller\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    mezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eErnst Haefliger\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    tenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cb\u003eNew York Phiharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBruno Walter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor a stereo recording of Das Lied, this one remains a prime choice; strongly recommended.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo my great pleasure, Andrew Rose at \nPristine Audio is continuing to devote his refurbishing efforts to \nrecordings by my podium idol, Bruno Walter. Although his efforts have \nnot been uniformly successful, his best ones—the Bruckner Ninth and \nMahler Fifth symphonies that I praised in separate reviews in 37:1—are \naccomplishments of such merit that they caused me to fundamentally \nre-evaluate the character of the performances themselves. I am therefore\n pleased to give my endorsement to this new release as well. I initially\n approached this disc with some trepidation, because in my experience \nRose has been far less successful at remastering vocal recordings than \npurely instrumental ones; too often the character of singers’ voices has\n been altered for the worse with a kind of harsh, edgy electronic \npenumbra. Happily, that is not the case here; both Haefliger and Miller \nsound completely natural, and the sound has been opened up and made to \nblossom in a way very similar to what Rose achieved with the Bruckner \nNinth—richer, weightier bass, fuller midrange and treble, and a touch of\n added warmth to Columbia’s slightly dry-sounding original ambience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn particular, I think that Mildred \nMiller benefits the most here. She is a prime example of a singer with a\n good but not great or distinctive voice, who nevertheless could produce\n exceptional results under the tutelage of the right conductor, the \nlatter in this case being of course Walter. (Their recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLieder eines fahrenden Gesellen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003econtinues\n to have no peers, and it is mind-boggling to know that Walter himself \nhad never even studied the score until Miller asked to record it with \nhim when a few extra hours of studio recording time unexpectedly became \navailable!) While her voice \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003equa\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e voice is no match for that of Thorborg or Ferrier in Walter’s earlier recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or for singers such as Maureen Forrester, Christa Ludwig, and Janet \nBaker in other famous versions, under Walter’s coaching she is an \nunexpectedly fine and probing interpreter of the texts. Haefliger \nremains one of the most poised and elegant purveyors of the tenor part, \nand the New York Philharmonic plays with razor-sharp virtuosity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is\n one of the dominant works in Walter’s discography, with eight different\n recordings (two studio, marked * below, and six live, with that from \n1949 lacking the first and last movements) having appeared on CD, as \nfollows: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMESb\"\u003eDate\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12b\"\u003eSoloists\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12b\"\u003eOrchestra\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e05\/24\/1936 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKerstin Thorborg, Charles Kullmann \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e01\/18\/1948 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Set Svanholm \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e08\/21\/1949 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e*05\/15–20\/1952 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e05\/17\/1952 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e02\/22\/1953 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eElena Nikolaidi, Set Svanholm \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e04\/16\/1960 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eMaureen Forrester, Richard Lewis \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e*04\/18 \u0026amp; 25\/1960 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eMildred Miller, Ernst Haefliger \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOf these, the three commercial \nrecordings (the 1936 live performance in Vienna also being recorded by \nEMI for commercial release) easily continue to hold pride of place. Of \nthe other five, that of April 16, 1960 is the one of the most interest, \ndue to the presence of Maureen Forrester with Walter in a live \nperformance in quite decent monaural sound. (Tenor Richard Lewis is not \nquite on the same level, taking a couple of minutes to get warmed up and\n not ever sounding fully at ease in his upper register.) The two \nperformances with Svanholm are non-competitive, due both to that tenor’s\n uningratiating voice and defective vocal technique and to the inferior \nrecorded sound, while the 1949 performance is likewise in mediocre sound\n and (as already noted) incomplete. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs some readers doubtless already know,\n there has been considerable controversy over the Andante and Tahra \nreleases in 2002 of the live May 17, 1952 performances. In a review in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Magazine, Rob Cowen charged that the Andante release was actually a \ndoctored version of the contemporaneous studio recording, to which \nAndante’s artistic supervisor, Gottfried Kraus, wrote a rebuttal. The \nissue was further inflamed when a few months later Tahra issued what it \nclaimed was the first release of the May 17 performance, one clearly \ndifferent from the Andante release (e.g., Patzak flubs an entrance early\n in the fifth song). So far as I know, no definite resolution has been \nreached regarding the various claims and counter-claims; however if, as \nat least one source has suggested, the Tahra release is actually of the \nMay 18 performance, then there are nine surviving performances instead. \nFor my part, I think Cowen is right. While I trust that honest error \nrather than willful deception was involved, the Andante issue does sound\n uncannily like the Decca studio version, right down to a few momentary \nsubtle background noises. Moreover, Kraus has recently made a verified \nserious error regarding source materials in issuing a performance \nconducted by Hans Swarowsky of Mozart’s Concerto for Two Pianos, K 365, \nas being one by Wilhelm Furtwängler, despite the prior and \nwell-publicized authentic release of the latter in 2002 by Music \u0026amp; \nArts (see the reviews by Ronald Grames and Henry Fogel of the Orfeo set \nin 37:3, and by Fogel of the M\u0026amp; A release in 26:3.) Consequently, I \nfor one have doubts regarding Kraus’s acumen in discerning authentic \nsource materials. In any case, for most listeners the live performance \nin its indisputably authentic Tahra release will present an interesting \ngloss on, but not replace, the immortal Decca recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the three main contenders, all \nhave enjoyed multiple and uniformly glowing reviews from numerous \ncritics in these pages (not to mention elsewhere), and it would be \nsuperfluous of me to add to those at any length. Suffice it to say that \nwhile the 1952 Decca recording is the consensus choice for a \nfavorite—and indeed for many remains the greatest recording of the work \nfor all time—the other two versions also have their champions for first \nchoice. (Jon Tuska endorsed the 1936 EMI recording in 17:2, and \nChristopher Abbott the 1960 Columbia recording in 32:2.) As for myself, I\n love them all, but I concur with the consensus for the Decca recording \nas the desert island choice; while the 1936 version objectively ranks \nsecond as a performance due to my marked preference for Thorborg over \nMiller, the 1960 studio recording is better in virtually every other way\n and will likely provide most listeners with greater pleasure. I also \nwouldn’t be without the Tahra release; despite the lesser depth of the \nrecorded sound compared to the studio version and a few rough moments, \nit has a special incandescence, with Patzak in particular sounding even \nmore vibrant and having a real ring and heft to his voice. But for a \nstereo recording of\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Das Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, this one remains a prime choice, and now Pristine Audio has given one even more reason to acquire it; strongly recommended. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO094.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's final word on the work he premièred 50 years earlier: Das Lied von der Erde\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"exceptional\n insight into, and sympathy with, Mahler's thought, and ability to \ncapture every nuance of his melancholy sensitivity\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eHaving conducted the \npremière performance of Das Lied von der Erde in Munich on 20 November \n1911, some six months after his close friend and long-time musical \ncolleague and mentor, Gustav Mahler's death, all of Bruno Walter's \nperformances and recordings of the work come inevitably with an extra \nring of \"authenticity\". He recorded the work three times, each \neffectively in a different era of recording technology. The first, made \nin Vienna in 1936 with Kerstin Thorborg and Charles Kullman (PASC108) \nsits sqaurely in the 78rpm era, whilst the second, another Viennese \nproduction, this time for Decca in 1952 with Kathleen Ferrier and Julius\n Patzak (PASC109), was a star release of the early mono LP era.\u003cbr\u003e\u003cbr\u003eHere we find him, in his \ntwilight years, in New York - with much improved sonics, and in full \ntrue stereo. Yet, as I've found with Walter's other late Columbia \nrecordings, there remains room for considerable improvements in sound \nquality here; XR remastering this recording has greatly opened out and \nfilled out the sound, lifting a veil from the top end, finding greater \nwarmth and depth at in the bass and lower mid-range, and smoothing out \nsome awkward hamornic peaks in the middle, to deliver a more natural \nsound from both singers and orchestra. Overall the result is entirely \ncaptivating!\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eMildred Miller\u003c\/b\u003e    mezzo-soprano\u003cbr\u003e\u003cb\u003eErnst Haefliger\u003c\/b\u003e    tenor\u003cbr\u003e\u003cb\u003eNew York Phiharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e    conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded 18 \u0026amp; 25 April 1960, Manhattan Center, New York City\u003cbr\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003eTotal duration: 63:40\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\/PACO094.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO094.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32533227085,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32533227149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32533227213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO094.jpg?v=1487756892"},{"product_id":"pasc416-cd","title":"HORENSTEIN Mahler: Symphony No. 5 (1961) - PASC416 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":47261910663502,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976375757,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC416_6ec16199-ce43-4d29-9608-3e15df0a04b1.jpg?v=1699522524"},{"product_id":"pasc426-cd","title":"HORENSTEIN Mahler: Symphony No. 9 (1960, Vienna) - PASC426 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976412109,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976412237,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC426.jpg?v=1658742398"},{"product_id":"pasc440-cd","title":"HORENSTEIN Mahler: Symphony No. 8; 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Readers interested in the \nnitty-gritty details may consult that review in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Archive. Here we have a remastering of a historic occasion: Kathleen \nFerrier’s American debut. This performance previously enjoyed two \nissues: one by Naxos in a restoration by Richard Caniell from 1999, and \nthe other in a 10-CD commemorative set of historic live Mahler \nrecordings issued by the New York Philharmonic in late 1998. Doubtless \nthe NYPO had access to a much superior source, for its version has much \nbetter sound than the rather muffled Naxos issue and Caniell has a \njustly earned reputation for exemplary remasterings. Both issues are now\n out of print, and the NYPO one was never available separately in any \ncase (used copies of the set are fetching over $100 on Amazon). In this \ncase, Andrew Rose appears to have started from the New York Philharmonic\n issue and employed his trademark XR remastering process upon that. The \nimprovement in sound quality is definite if minimal, resulting in \ngreater clarity in more congested passages. More importantly, it \nrestores this performance to the active catalog as a separate and quite \naffordable release. While the sound cannot compare to the superb sonics \nof Decca’s 1952 studio account (also remastered by Pristine, a version I\n have not heard), it is certainly quite listenable and affords far more \ndetail than one might expect from a live broadcast of its vintage. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMost importantly of all, how good is \nthe performance, and how does it compare with its rivals in the Walter \ndiscography? The answers respectively are very good and very well. Bruno\n Walter of course had an unrivaled identification with the score, having\n given its world premiere after Mahler’s death, and his three commercial\n recordings (1936 live, 1952, and 1960) remain dominant reference points\n in the Mahler discography despite their age. A particularly noteworthy \nfactor is a greater degree of urgency in Walter’s conducting as compared\n to his justly fabled 1952 studio account. The differences in the \ntimings may not seem substantial, but bear in mind that those from 1948 \nalso include about 10 seconds of audience noise between each movement, \nso that a variance of about 30 seconds in a movement of four to eight \nminutes length is one of 15 percent to 7 percent, which is quite \nperceptible. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"main\" frame=\"box\" rules=\"all\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eMovement\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003e1948\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003e1952\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 1 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:19 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:38 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 2 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:50 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e9:14 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 3 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e3:04 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e2:59 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 4 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e6:18 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e6:45 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 5 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e4:12 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e4:24 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 6 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e27:37 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e28:22 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHaving previously played the First, \nSecond, Fourth, and Fifth Symphonies of Mahler under Walter’s baton (and\n of course that of Mahler himself four decades before), the New York \nPhilharmonic by this time was one of the very few well seasoned Mahler \norchestras in the world, and its playing here is thoroughly idiomatic. \nAs for the soloists, the legendary and much lamented Kathleen Ferrier is\n so famed for her 1952 studio recording of Walter in this same part that\n for me to expatiate upon her extraordinary and unique voice would be to\n gild the lily and try the patience of most readers. She is simply \nmarvelous here, though her 1952 accounts, sung\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e sub specie mortis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n her ongoing losing fight against cancer, have both manifold subtle \nnuances and a heartbreaking pathos that she had yet to achieve at this \nstage of her career; here she is still a young lady full of life, \ncontemplating tragedy from the greater remove of a sensitive but \nobjective observer rather than the harrowing internal perspective of a \nsuffering victim. The difference is most telling in the final bars of \n“Der Abschied”; here it closes with serene acceptance, while the Vienna \naccount draws out the final measures with desperate reluctance to bid \nfarewell to all things lovely. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for tenor Set Svanholm, while he has\n his admirers, I have generally not been among them, usually finding his\n voice rather leathery, lacking in warmth and plasticity. Here, however,\n at an earlier stage in his career, he is in good form and for me a \nsurprisingly welcome asset. (The subsequent 1953 broadcast performance \nwith Walter, Elena Nikolaidi, and the NYPO finds him in markedly poorer \nform.) His voice is powerful and steady (an occasional slightly quavery \nnote aside), and he soars over Mahler’s orchestral tuttis without \ndifficulty. His interpretation is impetuous and forceful, a touch too \nmuch so in a few syllables that are punched out overly hard, but aside \nfrom Jonas Kaufmann it’s hard to think of anyone today who could exceed \nor match him in this part. Perhaps the greatest interest lies in the \npolar contrast he presents to Julius Patzak in the latter’s 1952 \nperformances with Walter. Largely self-taught in vocal technique (he \noriginally studied conducting), Patzak had one of the most idiosyncratic\n voices of any singer to achieve a major reputation. Its relatively \nlight weight (the Evangelist in Bach’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Matthew Passion \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas one of his most frequent roles, though he unexpectedly achieved great fame as Florestan in Beethoven’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n and extreme nasality would seem a poor fit for Mahler’s orchestral \nperorations; but Patzak possessed incredible finesse and could thread \nthe finest vocal needles with astounding elegance, and his ironically \nworld-weary rendition of this part remains an unsurpassed interpretive \nbenchmark. Whereas vocally Svanholm wields a weighty cutlass, Patzak \ndeftly employs a stiletto. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, anyone looking to have only one\n representative recording of Mahler’s late masterwork under the baton of\n his closest colleague and foremost disciple will naturally gravitate to\n the 1952 studio version, or possibly its 1960 stereo successor \navailable from either Sony or Pristine. Ditto for anyone seeking just \none version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Ferrier. But for those desiring additional perspectives on these \ntwo artists, and\/or anyone wanting to hear Svanholm (or simply a more \nheroic tenor than Patzak), this release commands attention, and hearty \nthanks are due to Andrew Rose for making it available again. Strongly \nrecommended to all aficionados of historic performances and of great \nsingers and conductors. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cstrong\u003eJames A. Altena\u003c\/strong\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis recording is a digital restoration of a 1999 \nrelease of this performance. Andrew Rose, the engineer of the current \nrelease, writes that present day technology has allowed him to remove “a\n great deal of surface noise and hiss” and to “make great strides with \nthe overall tonal quality, improving greatly the clarity of vocal \ndelivery and ameliorating congestion in the lower orchestral ranges.” \nThe balance between upper and lower registers is markedly superior in \nthis restoration. However, there is a tradeoff. Whereas the chromatic \ntrumpet declamation toward the beginning of “Trinklied vom Jammer der \nErde” is rather pale and far overshadowed by the horn in the 1999 \nrelease, it is a bit strident in the current restoration, and the rush \nof winds accompanying it seems to overload the microphones in a \ncacophony of sound. This is an ongoing tradeoff: It is difficult to \ndistinguish individual lines in louder, faster orchestral passages, \nwhich seem noisy and shrill. However, the gain in color in all other \npassages and the crispness of the vocal sound far outweigh this issue.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the performance, it is simply a must-have. \nBruno Walter’s conducting is more impetuous here in comparison to the \nfamous 1952 Vienna recording with Ferrier and Julius Patzak; his \ninterpretation in the 1952 recording is perhaps more noble. Ferrier’s \nhigh notes (for example in the first phrase of “Der Einsame im Herbst” \nare a bit warbly here, with an over-rapid vibrato that is less apparent \nin the 1952 recording, and she goes slightly sharp at the climax of that\n movement, but her expressive power is unsurpassed in both recordings, \nand her variety of phrasing and articulation and her connection to the \ntext may even be preferable here. The orchestra overpowers her a bit in \nthe manic fast section of “Von der Schönheit” and her voice is overly \nprominent in the mix of “Der Abschied.” But in contrast to the 1999 \nrelease, there is no sense of sonic overload in the vocal line of “Der \nAbschied”; Ferrier’s voice has been returned to its characteristic warm \nrichness here.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy one dissatisfaction with this performance is \nSet Svanholm’s delivery, which I find to be relentlessly declamatory. To\n be sure, the tenor movements call for a heroic sound. But Svanholm \nsings syllable by syllable in a near-constant marcato that provides \nlittle room for shading and multi-syllabic phrasing. The tone quality is\n glorious on long notes, which inherently have space to bloom. It is a \nnaturally younger, brighter sound than Patzak’s, not simply due to their\n ages (44 for Svanholm, 54 for Patzak) at the time of their respective \nrecordings. But even in rustic, boisterous passages, where such a sound \nis perhaps preferable to Patzak’s, Svanholm’s delivery is monotonously \nchoppy. But I must emphasize: this is an indispensable recording, and I \ngive it a very high recommendation. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMyron Silberstein  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\n      \n    \n  \n  \u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO137.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKathleen Ferrier's American debut at Carnegie Hall, 1948\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“Vital, controlled and incisive” - GRAMOPHONE\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"b\"\u003eThis recording of Kathleen Ferrier's American debut first \nappeared on CD in 1999, when two different CD releases almost coincided.\n Both are now harder to come by. It was partly this and partly a desire \nto address the shortcomings of a \"privately made recording on acetates\" \n(Gramophone) which led to a request for me to see what might be done \nusing today's digital restoration technology.\u003c\/p\u003e\u003cp class=\"b\"\u003eAfter removing a great deal of surface noise and hiss I've \nbeen able to make great strides with the overall tonal quality, \nimproving greatly the clarity of vocal delivery and ameliorating \ncongestion in the lower orchestral ranges. I've also been able to both \ncorrect overall pitch and address problems with wow and pitch drift \nwhich were beyond the technologies of the late 1990s.\u003c\/p\u003e\u003cp class=\"b\"\u003eThe result is a highly memorable and enjoyable \u003cem\u003eDas Lied\u003c\/em\u003e\n - one can only assume that the three days that elapsed between the \nfirst performance, reviewed with some reservations expressed in the New \nYork Times (above), and the present one made all the difference with \nregard to both performances and delivery.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cstrong\u003eMAHLER \u003c\/strong\u003eDas Lied von der Erde \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive at Carnegie Hall, New York, 18th January 1948\u003cbr\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Kathleen Ferrier\u003cbr\u003eTotal duration: 58:20\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eKathleen Ferrier\u003c\/strong\u003e - mezzo-soprano\u003cbr\u003e\u003cstrong\u003eSet Svanholm\u003c\/strong\u003e - tenor \u003cbr\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBruno Walter\u003c\/strong\u003e, conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\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 Artwork578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO137.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO137.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003eCONTEMPORARY PRESS REVIEW\u003c\/strong\u003e: FIRST NIGHT\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: medium;\"\u003eWALTER CONDUCTS MAHLER SYMPHONY\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003eAs Guest on Philharmonic's Podium He Features 'Das Lied von der Erde’ Work\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003eBy OLIN DOWNES\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eWe \nhave always preferred '‘Das Lied von der Erde” to all other of the \nsymphonic works of Gustav Mahler. Bruno Walter specializes in Mahler. He\n signalized his return to the podium of the Philharmonic-Symphony \nOrchestra last night in Carnegie Hall with this particular composition, \nwhich he prefaced with a delightfully gemuetlich reading of the \nBeethoven Fourth Symphony.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eIn \nthe simplest and profoundest pages of the Fourth Symphony, which are \nthose of the introduction and the slow movement, the conductor went \nsomewhat faster than is customary. Both movements are marked adagio — \nvery slow. But all tempo directions are relative, and the relativities \ninclude the feeling and the taste of the musician interpreting. For some\n a more deliberately poised tempo in the places mentioned gives the \nmusic a more mysterious heauty. Mr. Walter’s tempi had the pulse of the \nflesh as well as the spirit. The symphony delighted the audience by its \nhumor, its play of fancy, its perfection of ideas and of form. A triumph\n for the players and the conductor! For the listener an altogether \ndelectable experience!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eOne’s\n reasons for admiring the “Lied von der Erde” are doubtless generally \nshared. The lyricism of the poetry has an inspired parallel in the \ncompletely lyrical nature of the scoring both for voices and orchestra. \nTenor and contralto — last evening the mezzo-soprano, Kathleen Ferrier —\n carry the burden of the song. But the orchestra also, with its \nremarkable devices of coloring and of dramatic accentuation, sings its \nsong, and intersperses the final verses for the woman's voice with an \ninterlude which is a “lied” of its own. The very melodic writing needs \nno translation or commentary to exert its immediate if sometimes obvious\n and sentimental appeal. Sentimental or not, the complete sincerity of \nthe music is unquestionable and affecting.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eSaying\n this, one adds reluctantly that the performance, for one reason or \nanother, began to fall before it was over. This at least was the \nreaction of one listener who is not a perfect Mahlerite. Was this only \ndue to certain characteristics of the performance? Both soloists were \ndeficient in diction. Svanholm, the tenor, could only shout, in the \nopening verses, against heavy orchestra, and in this Mr. Walter did not \nspare him.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eBut \nMr. Svanholm was prevailingly hard-voiced and lacking in variety of tone\n color. Miss Ferrier had but recently emerged from a bad cold. Her voice\n became freer as she went on. She could not, however, give the full \nsignificance to her text and music. Some time before the end was reached\n “Lied von der Erde” was becoming langweiling, lachrymose, \nold-fashioned.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: monospace;\"\u003e\u003cstrong\u003eNEW YORK TIMES, 16 January 1948\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32418292429,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32418292493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32418292621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO137.jpg?v=1487682977"},{"product_id":"paco137-cd","title":"WALTER Mahler: Das Lied von der Erde (1948) - PACO137 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976593933,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976593997,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO137_182de7e5-cf6a-44c1-838f-0cd4a08d8a47.jpg?v=1658496462"},{"product_id":"paco094-cd","title":"WALTER Mahler: Das Lied von der Erde (1960) - PACO094 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478062285,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478062349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO094_43c91a5d-60e0-4a48-a9a7-48bafc50ed85.jpg?v=1658484276"},{"product_id":"pasc376","title":"WALTER Mahler: Symphonies 1 \u0026 9 (1961) - PASC376","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo 1961\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 2hr 14:48\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eColumbia Symphony Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f For the first time, I can listen to this performance with real pleasure, rather than a somewhat grudging sense of obligation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere we have a brace of remasterings by Andrew \nRose of several of Bruno Walter’s legendary Mahler symphony recordings; \nonly the monaural New York Philharmonic versions of the First and Fourth\n symphonies are not included. The results are mixed, with no clear \npattern of superiority or deficiency emerging.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the case of the First and the Ninth symphonies,\n I compared this Pristine issue against Sony’s 1994 “Bruno Walter \nEdition” issue; the recent 24 bit remasterings in the seven-CD set of \nall of Walter’s Mahler recordings for Columbia (see the Classical Hall \nof Fame review by Christopher Abbott in 35:6), and Japanese Blu-spec \nissues (once again kindly lent to me by friend and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n subscriber Bob Alps). In the case of the First, I had two different \nBlu-spec discs available to me, one pressed on gold rather than \naluminum, with the more expensive metallic base advertised as providing \nmore enhanced sound. I found virtually no difference between the two \ndomestic issues on the one hand, and the two Japanese issues on the \nother. Between those two pairs, the preference is probably more \nsubjective than objective. The Japanese versions are mastered at a \nhigher level, so that they have a more immediate presence; however, that\n brings with it more background noise (particularly hiss in the high \ntreble frequencies) and a slightly less well defined (albeit more \npowerful) bass register. The domestic versions have a bit less punch, \nbut have whisper-quiet backgrounds and crisper (if less thunderous) \nbass. Where the Japanese versions score points are in passages such as \nthe opening of the scherzo of the First, in which the unison lower \nstrings have more oomph and color without sacrificing clarity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow do the Pristine remasterings stack up against \nthis competition? Given that Rose works from LP copies instead of master\n tapes, remarkably well, but in the end his issue of the First takes a \nvery honorable third place. His sound palette falls about midway between\n the domestic and Japanese Sony issues. He manages to create a sense of \nslightly more body than in the domestic Sony discs, but not as much as \nin the Japanese ones; but in so doing he loses some of the clarity of \nthe bass lines in the domestic versions without gaining all the \ncompensating power of the Japanese ones. It also simply sounds too \nartificial at times; the opening of the scherzo is again a key \nindicator, as the lower strings have an unnatural ambience that makes \nthem sound both more distant and less distinct. Furthermore, there is a \nslight but audible low-frequency rumble from the LP present in the \nPristine remastering that afflicts none of its rivals. Rather than \nstriking a happy medium between two extremes, he gets only part of the \nstrengths of each side, along with part of the weaknesses as well. I for\n one would prefer either end of the spectrum to the middle. I wish that \nRose had devoted his attentions instead to Walter’s monaural 1954 New \nYork Philharmonic recording, which might well have yielded far more \npromising results.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBy contrast, the Pristine transfer of the Ninth is\n far more competitive, and arguably even the one of choice. Once again, \nSony’s domestic and Japanese issues present contrasting polarities of \nremastering philosophies. In this instance, however, the Japanese effort\n is a major miscalculation, with overbearing high frequency tape hiss \nand extremely unpleasant harshness in the upper registers. (Did the \nfolks at Opus Kura temporarily hijack Sony in Japan?) By contrast, the \ndomestic issues in the 1994 Bruno Walter Edition and the 2012 24-bit \nremastering (again, no real difference between them) present an honest, \nclear sound portrait with minimal tape hiss, and just a touch of the \nclinically antiseptic lack of definition that sometimes has been the \ndisadvantage of the digital medium. Happily, Rose here manages to go \nmore or less toe-to-toe with the domestic Sony issues for clarity and \npresence of sound, while retaining the greater warmth of analog LP \nissues and beefing up the bass. While the rival versions are more or \nless of equal worth in the two outer movements, Pristine has a slight \nbut clear advantage in the two middle movements. However, given that the\n seven-CD Sony set can be had for the same price or less than the two-CD\n Pristine set, its purchase will commend itself to avid Mahlerians and \nWalterians rather than to more general collectors.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the Second symphony, here Rose went up \nagainst three different Sony remasterings: the original 1994 Bruno \nWalter Edition, a 1999 Japanese Sony DSD version, and a 2009 Japanese \nSony Blu-spec edition. The 1994 release was my one serious \ndisappointment in Sony’s BW Edition series; while a significant \nimprovement over the Odyssey CD issue and various preceding LP \nincarnations, it has a somewhat dry and underpowered bass register that \ndoes not faithfully reflect either Walter’s sonic palette or the \nacoustics of Carnegie Hall. It also still had the feeling of the sound \nbeing confined inside a cramped sonic box that needed to be opened up \nand aired out. The DSD version was the first to overcome that to some \nextent and do this recording a degree of justice, opening up the entire \nfrequency range in general and beefing up the bass in particular, but \nstill having an intangible but real sense of constriction remaining. \nThat edition is still in print and can be ordered from Japan through HMV\n Japan and similar outlets.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThankfully, these limitations are abolished at \nlast by the 2009 Blu-spec version—and how! The results of that \nremastering are simply mind-boggling in their transformative scope; were\n it not for some residual background tape hiss, one could easily be \nfooled into thinking it to be a new SACD digital recording, with the \nsoloists, chorus, and orchestra at last bursting forth in unrestrained \nsplendor, grounded in a positively earth-shaking bass register. Alas, \nthat edition appears to be already out of print, though as I type these \nlines used copies still can be had from Japan for about $60-$100 through\n Amazon.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot surprisingly, this Pristine remastering is not\n competitive with either the DSD or Blu-spec versions from Japan—but \nthen, it is in print and costs considerably less as well. When compared \nto the 1994 Bruno Walter Edition, it holds its own. The sound is fuller,\n the bass register stronger, and the boxiness partially opened up. \nHowever, I think that Rose slightly miscalculated here and added one \ndegree too much of resonance throughout the entire frequency range, \ncreating a noticeably artificial effect of a bit too much equalization. \nTaking the exact same approach, but slightly toned down, would have \nyielded superior results with no drawbacks. Still, if I did not have the\n two Japanese issues of this recording in my collection, I would want to\n have this one as an alternative—or should I say antidote?—to the BW \nEdition release. Rose does score two additional positive points with his\n version: He puts the entire performance on one CD (Sony’s failure to do\n so in any of its releases is positively maddening), and he inserts an \nextra track partway through the finale, so that one does not have to \nscroll through a single track lasting over half an hour in order to get \nto the mighty final climax.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith his transfer of the Fifth Symphony, Rose \nfinally reaps sonic gold. According to booklet notes by producer Dennis \nD. Rooney in the 1994 Sony Bruno Walter Edition release, the performance\n was originally recorded at 33 1\/3 rpm on 16-inch lacquer masters. It \nwas then dubbed for commercial release first onto 78 rpm acetate discs \nand later onto a master tape. The latter was, Rooney states, used for \nall LP and CD issues of the performance prior to the BW Edition, which \nreturned to the lacquer masters. Unfortunately, those had suffered \nabrasive damage in the intervening years, so that the new issue was \nafflicted at points with patches of loud scratches. Despite some \nimprovement in the sound (though rather less than touted in those \nbooklet notes), I found the extraneous noise so painful that my \npreference remained with the 1991 digital remastering in the preceding \n“Masterworks Portrait” series. It was only with the appearance last year\n of the aforementioned seven-CD set by Sony that a truly listenable \nedition of this recording finally appeared, that did some justice to the\n performance. Even so, that release retains a very dry acoustic, flat \nand lacking in sheen, with an overly subdued bass register.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRose has managed to correct and compensate for \nthat to a surprising degree. While no one will mistake this for a \nhigh-fidelity recording, the orchestral sound now has far more presence \nand color, with a greatly strengthened bass register. At a few \npoints—most noticeably, the opening trumpet fanfare of the first \nmovement—the sonic retouching is overly apparent and the added ambience \ndraws undue attention to itself, but such moments are few and readily \nacceptable for the acoustic wizardry worked throughout the whole. For \nthe first time, I can listen to this performance with real pleasure, \nrather than a somewhat grudging sense of obligation, and for that I am \nincalculably in Rose’s debt.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always with Pristine, the packaging is bare \nbones, and notes must be downloaded from Pristine’s website. This issue \nof the Fifth belongs in the collection of every Mahlerite; the Ninth is \nalso well recommended, and the Second is quite respectable, leaving only\n the First as a relative disappointment. Now, on for Pristine to the \nFourth Symphony and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC376.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's classic stereo Mahler symphonies in hugely improved sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"...a superb, definitive realisation of the work, in interpretation, performance...\" - The Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAs with a number of recordings of this era, I approached\n this classic, some would say definitive historic document with a degree\n of trepidation. Once again I had to ask myself whether I could bring \nany significant improvement to the sound quality to justify my own \nefforts - and achieve something sufficient to persuade those who already\n know the recording well that it's worth hearing afresh.\u003c\/p\u003e\u003cp class=\"body\"\u003eMahler's 6th Symphony was once famously dismissed as \n\"Brass, lots of brass, incredibly much brass! Even more brass, nothing \nbut brass!\", yet here I would point the listener first to the brass to \nhear what dramatic sound improvements have been made. Gone is the dim, \nveiled sound of even the most recent \"official\" Sony CD issues, to be \nreplaced by an openness and clarity that lets these instruments shine \nthrough as never before. Suddenly the whole sound of the original \nrecordings sounds cluttered and constricted by comparison.\u003c\/p\u003e\u003cp class=\"body\"\u003eListen next to the very low end, the depths of bass \nwhich underpin the orchestra, the growling rumbled of double basses and \nlow percussion that seem almost absent in the original - they were there\n all along, just waiting to be found and returned to audibility. A \nmonumental work such as the Ninth requires a monumental sound - and now \nthis monumental recording has it.\u003c\/p\u003e\u003cp class=\"body\"\u003eCoupling it with the First beings together Walter's two \nstereo Columbia Symphony Mahler recordings, surely now sounding as fine \nas any ever recorded.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 9 in D major\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eMAHLER \u003c\/strong\u003e\u003c\/strong\u003eSymphony No. 1 in D major \"TITAN\"\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eColumbia Symphony Orchestra\u003c\/strong\u003e \u003cbr\u003e \u003cstrong\u003eBruno Walter \u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cstrong\u003eSymphony No. 9\u003c\/strong\u003e (82:08)\u003cbr\u003e Recorded 16 January 1961\u003cbr\u003e American Legion Hall, Hollywood, USA\u003cbr\u003e First issued as Columbia M2S 676\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSymphony No. 1\u003c\/strong\u003e (52:39)\u003cbr\u003e Recorded 14\/21 January \u0026amp; 4\/6 February 1961\u003cbr\u003e American Legion Hall, Hollywood, USA\u003cbr\u003e First issued as Columbia MS 6394\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 2hr 14:48\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC376.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC376.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW Symphony No. 9\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eMahler's Ninth Symphony, his last completed work, and undoubtedly his consummate achievement, was presented to the world in Vienna in 1912, the year after his death, by his disciple Bruno Walter. For those who understood Mahler (few enough at that time), it seemed to sum up, not only the soaring aspirations and despairs of this tormented genius himself, but those of a whole civilisation - the pre-1914 world of Vienna and the rest of Europe. And when Vienna fell to the Nazis, one of the last performances given there by Walter, before he left, eventually to settle in the U.S.A., was of the same work; and this, perpetuated by HMV in the form of a 20-side 78 rpm recording - the first ever made of the work - seemed more than ever to be an appropriate memorial to a glorious and irrecoverable past, not least in the imperfections inseparable from a recorded concert performance, which were felt to be part and parcel of a poignant historic occasion . And now it is once more fitting that the eighty-five-year-old Bruno Walter should have rounded off his life's work with a recording of the Ninth which is a superb, definitive realisation of the work, in interpretation, performance, and recorded sound alike.\u003cbr\u003e\u003cbr\u003eBut even more than looking to the past, and to Vienna, this recording impinges powerfully on the present and the future, and on the world at large. In my experience, this is the first time the full significance of Mahler's Ninth has been revealed; and listening to this performance, with the new understanding gained from our ever-growing familiarity with Mahler's life's work, one realises how far this extraordinary music transcends period and place, and stands revealed as a timeless masterpiece, a tremendous feat of creative imagination and technical mastery, down to the last detail.\u003cbr\u003e\u003cbr\u003eWalter has been accused of sentimentalising Mahler, playing up his Viennese charm and haunting nostalgia, and playing down his biting sarcasm and bitter irony; but this opinion will not hold water, as is shown by the present performance. Admittedly, judging from the fascinating \"Talking Portrait\" on the accompanying bonus disc - a recorded interview with Arnold Michaelis - Walter would seem to have had a closer affinity with Bruckner, and to have taken a rather rosy view of the content of Mahler's music: \"In each of his symphonies Mahler was seeking God.\" This is only half the truth; but we also hear him say how much the \"demonic\" element in Mahler meant to him. This was no doubt a largely subconscious affinity, since he does not dwell on it; and we notice from the equally fascinating \"Working Portrait\" on the other side of the bonus disc - snippets from the orchestral rehearsals for the record - that he did not 'interpret' Mahler to the players, but was content to secure perfection of playing. But that the affinity with every aspect of Mahler was there is obvious from the intensity of the performance, achieved, as he himself says, by the \"occult power\" by which a conductor communicates his feeling of the music to the players, and through them to the audience.\u003cbr\u003e\u003cbr\u003eIn comparison with Horenstein's largely fine performance and Ludwig's mainly misconceived one, Walter's fundamental superiority lies in his masterly tempo and rhythm - always broad enough to carry the great weight of the expression, but never drawn out for rhetoric to the point of breaking continuity. The vast span of the opening Andante comodo, presenting a life-and-death conflict, offers the most difficult problem, in its appearance of sprawling diffuseness. Ludwig, no doubt afraid that it can only sag if taken at a true andante, achieves flow by a continual pressing forward, which sadly minimises the music's majesty, drama, and depth of expression. Horenstein, splendidly broad, dramatic, and expressive, loses the flow at times; in particular, he so emphatically holds back for each appearance of the big exultant theme (first heard just before fig. 6), that he defeats his own object, failing to make these essential main pillars of the whole structure register clearly for what they are. But Walter unifies in one single unbroken flow the poignant lyricism of the main melody, the anguished agitation of the contrasting material, the full-blooded surge of the big exultant theme, the cataclysmic climax, and the shadowy disintegration of the coda. He leaves one in no doubt that this is one of the most superbly planned and executed large-scale symphonic movements in existence.\u003cbr\u003e\u003cbr\u003eIn the horrifying negative vision of the two central movements, which pillory the soulless emptiness of the modern age, Walter's affinity with Mahler's \"demonic\" element is undeniable. The whole point of the second movement is its alternation of dry parodies of popular dance-music - a medium tempo Ländler and a quick waltz - with a genuinely nostalgic slow Ländler. This is entirely missed by Ludwig, who whips away at the start with an impossibly quick waltz-tempo, and treats the whole thing as a jolly affair. Horenstein makes all the points clearly, but rather overdoes the 'clumsiness' asked for by Mahler to the extent of dragging the music in places and getting some rough playing from the strings. Walter prefers to let the music speak for itself: the tempi, and their integration into one another, are dead right; and there is plenty of subtle irony in the phrasing, so that the parodies are no less parodIes for being played as expertly as the genuine article. Moreover, he brings such ineffable beauty to the slow Ländler that the rest of the movement is set off vividly in its true garish colours .\u003cbr\u003e\u003cbr\u003eNo conductor can fail to make a powerful impact with the fast and frenzied contrapuntal uproar of the Rondo-Burleske; but whereas Ludwig sees only the physical excitement of the music, Horenstein and Walter bl'ing out superbly the livid 'to hell with everything' mood of the movement. Walter makes the music snap and snarl no less viciously than Horenstein, and he also achieves a virtuoso precision and greater impact in many details-notably the sudden fantastic outburst of fury when the main material first returns after the trio-section .\u003cbr\u003e\u003cbr\u003eThe Adagio-Finale's 'farewell to life' is for many people the outstanding movement of the work - the ultimate musical expression of heartbreak. Here Ludwig rises more nobly to the occasion with a deeply felt performance; but Horenstein again outdoes him in intensity, even if his extremely slow tempo makes the music almost burst at the seams here and there. Where Walter rises above both is in bringing out the other element in the music - the passionate joy in being alive, which is inextricably woven with grief in the noble chorale-melody, and only yields at the very end. Again it is a matter of tempo and rhythm: at a true adagio, and no slower, and with great weight of expression, and no more, he moves the music relentlessly forward until it at last slows down of its own accord and fades into silence.\u003cbr\u003e\u003cbr\u003eWhat we must be just as thankful for is that this realisation of the work's full stature was not obscured by any deficiencies of engineering. The extracts from the orchestral rehearsals are introduced by the Music Director of American Columbia, John McClure, who describes with justifiable pride the concentrated effort which went into the technical side of the achievement. The absolutely lifelike reproduction of every strand of Mahler's complex texture, even in the loudest tutti passages, is an extraordinary feat of recording technique; and whereas Ludwig's performance sounds persistently remote, and Horenstein's persistently close, the present issue has a wide dynamic range, rising from a really hushed pianissimo to a really full-blooded fortissimo. Those with stereo equipment are especially lucky, for the unusually vivid separation will enable them to savour Mahler's fantastically intricate web of criss-crossing counterpoints to the full.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDeryck Cooke\u003c\/b\u003e, The Gramophone, September 1962\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW Symphony No. 9\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e[Mono issue review]\u003cbr\u003eIt is no doubt understandable that Bruno Walter, for one of his last recordings, should have chosen this work, for it was the first piece of Mahler that he ever heard, and he fell in love with it at first hearing. But all the same, one wishes that he had chosen the Third, Sixth, or Seventh, since he never recorded these at all, whereas he had already made a very fine recording of the First - the Philips issue listed above. Of course, this is also a fine performance, as we should only expect, and being different from the earlier one, it allows the Mahler-lover the fascinating experience of studying Waiter's changing approach to the music; but I feel that I shall personally stick to his earlier recording. There are certain gains here; the first movement works up to a much more gripping culmination, owing to a rather steadier tempo at figure 26 and a consequently more far-reaching accelerando to the end of the movement. Also the trio of the Scherzo is taken a shade more deliberately with a considerable deepening of the expression, and the two different sections of 'popular' music in the Funeral March are well differentiated by the adoption of a slightly quicker tempo for the second one (this drags a little on the earlier record).\u003cbr\u003e\u003cbr\u003eHowever, there are also certain losses which for me outweigh the gains. The rhythm of the Funeral March is nowhere near as steady and relentless as in the previous version, and in the trio-section (which Walter originally handled with utter simplicity, as indicated by Mahler) the tempo changes all the time in the interests of an extra expressiveness which I find makes the music less moving instead of more. Another strange thing is that at the end of the Scherzo, each time, Walter no longer carries out the accelerando marked by Mahler; this may help the horns to cope with their murderous task, but it takes a great deal of excitement out of the music. But it is in the finale that the greatest difference lies. I particularly admired Walter's previous recording for the really fast tempo he adopted for the main stormy music - he was the only conductor who made the stream of quavers on .the strings sound like the wind howling, not like a fussy chattering of separate notes. But here he has broadened considerably, and although this allows him to get great weight into the music, it gives the violin line just that fussy effect which spoils all the other conductors' performances. Also, it takes the wildness of youth out of the music, and replaces it with the mature Mahler of the Fifth and Sixth Symphonies; this music is surely one headlong mad rush or nothing. The whole movement is treated more deliberately, in fact, and although this makes for a really tremendous culmination, it means that the Funeral March has had to be split across two sides - the only case of this happening in any recording of the symphony. This is a large price to pay for the rather dubious expansion of the finale, and is the chief reason why I prefer to stick to my old recording.\u003cbr\u003e\u003cbr\u003eThe sound in mono is fine, and is superior to that of the earlier Philips record in that there is a greater perspective, which makes the strings much more mellow; but on the other hand the Philips gives a clearer account of the extremely important first trumpet, which is rather too backward on the CBS disc. I still await the stereo version.\u003cbr\u003e\u003cbr\u003e...\u003cbr\u003e\u003cbr\u003e[Stereo issue review]\u003cbr\u003eAt last the stereo version of Mahler's First Symphony that we've been waiting for - a really lifelike recording which takes the heaviest climaxes without flinching. I was less enthusiastic about the mono last month because the performance as such by no means replaces Walter's own earlier mono version, but it is of sufficient stature to dwarf all competitors in the stereo field. Apart from the same slight deficiency as in the mono - a rather too reticent treatment of the important first trumpet part - the only snag is that the third movement is split across the two sides.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDeryck Cooke,\u003c\/b\u003e The Gramophone, March 1962 (mono) \u0026amp; April 1962 (stereo)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34190736973,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34190737037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34190737101,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC376.jpg?v=1489681107"},{"product_id":"pasc376-cd","title":"WALTER Mahler: Symphonies 1 \u0026 9 (1961) - PASC376 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478173389,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478173453,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC376_3e1c1fde-2648-4417-a18c-67e1d5727ebe.jpg?v=1658309115"},{"product_id":"pasc382","title":"WALTER conducts Mahler, Symphony No. 5 (1947) - PASC382","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 61:29 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWith his transfer of the Fifth Symphony, Rose finally reaps sonic gold578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere we have a brace of remasterings by Andrew \nRose of several of Bruno Walter’s legendary Mahler symphony recordings; \nonly the monaural New York Philharmonic versions of the First and Fourth\n symphonies are not included. The results are mixed, with no clear \npattern of superiority or deficiency emerging.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the case of the First and the Ninth symphonies,\n I compared this Pristine issue against Sony’s 1994 “Bruno Walter \nEdition” issue; the recent 24 bit remasterings in the seven-CD set of \nall of Walter’s Mahler recordings for Columbia (see the Classical Hall \nof Fame review by Christopher Abbott in 35:6), and Japanese Blu-spec \nissues (once again kindly lent to me by friend and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n subscriber Bob Alps). In the case of the First, I had two different \nBlu-spec discs available to me, one pressed on gold rather than \naluminum, with the more expensive metallic base advertised as providing \nmore enhanced sound. I found virtually no difference between the two \ndomestic issues on the one hand, and the two Japanese issues on the \nother. Between those two pairs, the preference is probably more \nsubjective than objective. The Japanese versions are mastered at a \nhigher level, so that they have a more immediate presence; however, that\n brings with it more background noise (particularly hiss in the high \ntreble frequencies) and a slightly less well defined (albeit more \npowerful) bass register. The domestic versions have a bit less punch, \nbut have whisper-quiet backgrounds and crisper (if less thunderous) \nbass. Where the Japanese versions score points are in passages such as \nthe opening of the scherzo of the First, in which the unison lower \nstrings have more oomph and color without sacrificing clarity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow do the Pristine remasterings stack up against \nthis competition? Given that Rose works from LP copies instead of master\n tapes, remarkably well, but in the end his issue of the First takes a \nvery honorable third place. His sound palette falls about midway between\n the domestic and Japanese Sony issues. He manages to create a sense of \nslightly more body than in the domestic Sony discs, but not as much as \nin the Japanese ones; but in so doing he loses some of the clarity of \nthe bass lines in the domestic versions without gaining all the \ncompensating power of the Japanese ones. It also simply sounds too \nartificial at times; the opening of the scherzo is again a key \nindicator, as the lower strings have an unnatural ambience that makes \nthem sound both more distant and less distinct. Furthermore, there is a \nslight but audible low-frequency rumble from the LP present in the \nPristine remastering that afflicts none of its rivals. Rather than \nstriking a happy medium between two extremes, he gets only part of the \nstrengths of each side, along with part of the weaknesses as well. I for\n one would prefer either end of the spectrum to the middle. I wish that \nRose had devoted his attentions instead to Walter’s monaural 1954 New \nYork Philharmonic recording, which might well have yielded far more \npromising results.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBy contrast, the Pristine transfer of the Ninth is\n far more competitive, and arguably even the one of choice. Once again, \nSony’s domestic and Japanese issues present contrasting polarities of \nremastering philosophies. In this instance, however, the Japanese effort\n is a major miscalculation, with overbearing high frequency tape hiss \nand extremely unpleasant harshness in the upper registers. (Did the \nfolks at Opus Kura temporarily hijack Sony in Japan?) By contrast, the \ndomestic issues in the 1994 Bruno Walter Edition and the 2012 24-bit \nremastering (again, no real difference between them) present an honest, \nclear sound portrait with minimal tape hiss, and just a touch of the \nclinically antiseptic lack of definition that sometimes has been the \ndisadvantage of the digital medium. Happily, Rose here manages to go \nmore or less toe-to-toe with the domestic Sony issues for clarity and \npresence of sound, while retaining the greater warmth of analog LP \nissues and beefing up the bass. While the rival versions are more or \nless of equal worth in the two outer movements, Pristine has a slight \nbut clear advantage in the two middle movements. However, given that the\n seven-CD Sony set can be had for the same price or less than the two-CD\n Pristine set, its purchase will commend itself to avid Mahlerians and \nWalterians rather than to more general collectors.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the Second symphony, here Rose went up \nagainst three different Sony remasterings: the original 1994 Bruno \nWalter Edition, a 1999 Japanese Sony DSD version, and a 2009 Japanese \nSony Blu-spec edition. The 1994 release was my one serious \ndisappointment in Sony’s BW Edition series; while a significant \nimprovement over the Odyssey CD issue and various preceding LP \nincarnations, it has a somewhat dry and underpowered bass register that \ndoes not faithfully reflect either Walter’s sonic palette or the \nacoustics of Carnegie Hall. It also still had the feeling of the sound \nbeing confined inside a cramped sonic box that needed to be opened up \nand aired out. The DSD version was the first to overcome that to some \nextent and do this recording a degree of justice, opening up the entire \nfrequency range in general and beefing up the bass in particular, but \nstill having an intangible but real sense of constriction remaining. \nThat edition is still in print and can be ordered from Japan through HMV\n Japan and similar outlets.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThankfully, these limitations are abolished at \nlast by the 2009 Blu-spec version—and how! The results of that \nremastering are simply mind-boggling in their transformative scope; were\n it not for some residual background tape hiss, one could easily be \nfooled into thinking it to be a new SACD digital recording, with the \nsoloists, chorus, and orchestra at last bursting forth in unrestrained \nsplendor, grounded in a positively earth-shaking bass register. Alas, \nthat edition appears to be already out of print, though as I type these \nlines used copies still can be had from Japan for about $60-$100 through\n Amazon.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot surprisingly, this Pristine remastering is not\n competitive with either the DSD or Blu-spec versions from Japan—but \nthen, it is in print and costs considerably less as well. When compared \nto the 1994 Bruno Walter Edition, it holds its own. The sound is fuller,\n the bass register stronger, and the boxiness partially opened up. \nHowever, I think that Rose slightly miscalculated here and added one \ndegree too much of resonance throughout the entire frequency range, \ncreating a noticeably artificial effect of a bit too much equalization. \nTaking the exact same approach, but slightly toned down, would have \nyielded superior results with no drawbacks. Still, if I did not have the\n two Japanese issues of this recording in my collection, I would want to\n have this one as an alternative—or should I say antidote?—to the BW \nEdition release. Rose does score two additional positive points with his\n version: He puts the entire performance on one CD (Sony’s failure to do\n so in any of its releases is positively maddening), and he inserts an \nextra track partway through the finale, so that one does not have to \nscroll through a single track lasting over half an hour in order to get \nto the mighty final climax.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith his transfer of the Fifth Symphony, Rose \nfinally reaps sonic gold. According to booklet notes by producer Dennis \nD. Rooney in the 1994 Sony Bruno Walter Edition release, the performance\n was originally recorded at 33 1\/3 rpm on 16-inch lacquer masters. It \nwas then dubbed for commercial release first onto 78 rpm acetate discs \nand later onto a master tape. The latter was, Rooney states, used for \nall LP and CD issues of the performance prior to the BW Edition, which \nreturned to the lacquer masters. Unfortunately, those had suffered \nabrasive damage in the intervening years, so that the new issue was \nafflicted at points with patches of loud scratches. Despite some \nimprovement in the sound (though rather less than touted in those \nbooklet notes), I found the extraneous noise so painful that my \npreference remained with the 1991 digital remastering in the preceding \n“Masterworks Portrait” series. It was only with the appearance last year\n of the aforementioned seven-CD set by Sony that a truly listenable \nedition of this recording finally appeared, that did some justice to the\n performance. Even so, that release retains a very dry acoustic, flat \nand lacking in sheen, with an overly subdued bass register.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRose has managed to correct and compensate for \nthat to a surprising degree. While no one will mistake this for a \nhigh-fidelity recording, the orchestral sound now has far more presence \nand color, with a greatly strengthened bass register. At a few \npoints—most noticeably, the opening trumpet fanfare of the first \nmovement—the sonic retouching is overly apparent and the added ambience \ndraws undue attention to itself, but such moments are few and readily \nacceptable for the acoustic wizardry worked throughout the whole. For \nthe first time, I can listen to this performance with real pleasure, \nrather than a somewhat grudging sense of obligation, and for that I am \nincalculably in Rose’s debt.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always with Pristine, the packaging is bare \nbones, and notes must be downloaded from Pristine’s website. This issue \nof the Fifth belongs in the collection of every Mahlerite; the Ninth is \nalso well recommended, and the Second is quite respectable, leaving only\n the First as a relative disappointment. Now, on for Pristine to the \nFourth Symphony and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde! \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC382.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's Mahler 5: \"First class in every way\" (The Gramophone)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eA new XR remastering that sounds truly incredible - for any recording of this vintage!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording, made at the end of the 78rpm direct-to-disc era, both benefits and suffers as a result, as has been clear from previous issues. The Philips LP referred to in our Gramophone review struggled with a lack of clarity, especially at the top end, whilst later CD issues have suffered a surfeit of surface noise. No previous issue has successfully tackled the somewhat constricted sonics of the original recordings in the manner that this new 32-bit XR remastering has succeeded in doing, unlocking the broad sweep both of Mahler and Walter's collective visions. Rebalancing the orchestral tone has revealed a fuller and more glorious sound than I had dared to anticipate in a remastering process that has taken on numerous incarnations since I began it eight months ago.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 5\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/strong\u003e \u003cbr\u003e \u003cstrong\u003eBruno Walter \u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 10 February 1947\u003cbr\u003e Carnegie Hall, New York\u003cbr\u003e First issued as Columbia 78rpm album MM 718\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, July 2012-March 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 61:29 \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC382.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC382.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Symphony No. 5\u003c\/strong\u003e, 1957 UK LP issue\u003c\/p\u003e\u003cp class=\"body\"\u003eIn THE GRAMOPHONE for November, 1953, I wrote about this\n symphony at some length, expressing in general a degree of doubt as to \nits total coherence. The enormous structure, however, could scarcely be \ngiven a better chance of making its multitudinous points than on this \nnew set of discs, which are first class in every way. \u003cbr\u003e \u003cbr\u003e Walter \ntakes very great care, in particular, over accentuation, over the \nshaping of every one of Mahler's phrases. The result is often to propel \nthe music when it stands most in need of propulsion: not all \nperformances disclose a rhythmic shape to a cloud of notes as clearly as\n this one. Particularly does the Scherzo benefit; and the alert reading \nresults not merely in a winning effect but also in a practical advantage\n - the Adagietto can then be accommodated on the same side, leaving the \nwhole third side of the set available for the Finale, with obvious \nengineering advantages. \u003cbr\u003e \u003cbr\u003e Throughout the players respond readily\n not only to Walter's forward urge, but also to all the other demands of\n the music. The brass are on top of their form, with superbly confident \ntrumpets and rich-sounding trombones; so are the strings, with dash, \nunanimity, and, particularly in the Adagietto, a very full quality of \ntone. This movement does to some extent lack a clear reproduction of the\n important harp part; but the previous Scherzo always makes clear the at\n least equally important solo horn part, here most beautifully played. \u003cbr\u003e \u003cbr\u003e\n The recording is sonorous, even in the severest of Mahler's climaxes, \nwhich it approaches without flinching. The sonority does not, save \nexceptionally, exclude clarity; and it establishes beyond a doubt the \nsuperiority of this version of the symphony to the earlier Nixa set. \nThat was very clearly recorded (again, curiously, except as to that \nelusive harp part), but the overall sound was not as warm as that of the\n new Philips; nor did Scherchen achieve quite the felicities of \nphrasing, or, In places, the forward urge of Walter.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eM.M., The Gramophone\u003c\/strong\u003e, December 1957 , \u003cem\u003eexcerpt\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34253283597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34253283661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34253283725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34253283789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC382.jpg?v=1489741771"},{"product_id":"pasc382-cd","title":"WALTER conducts Mahler, Symphony No. 5 (1947) - PASC382 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178253,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178317,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC382_738d74d0-a294-41ab-afcf-0a71710ee7b8.jpg?v=1658309288"},{"product_id":"pasc385","title":"WALTER conducts Mahler's Second Symphony (1957-8) - PASC385","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 2, Op. 47 \"Resurrection\"\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1957\/58 in stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 79:40\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eEmilia Cundari \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eMaureen Forrester \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eWestminster Choir\u003cbr\u003eNew York Philharmonic Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is an essential interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003ePristine has chosen a striking cover design for \n          this issue to reflect the cosmic nature of the \u003ci\u003eResurrection Symphony\u003c\/i\u003e: \n          artwork based on photos from the Hubble Space Telescope is used as the \n          backdrop to the image of Bruno Walter, baton poised. This is a recording \n          that was almost never completed: the sessions were delayed by a year \n          following Walter’s heart attack in March 1957, just after he had \n          recorded the fourth and fifth movements. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s way with this mighty work has been revered since it first \n          appeared; regarding its musical content, I have nothing much to contribute \n          beyond reiterating the many virtues already commented upon by previous \n          reviewers. This is a recording which belongs in every serious Mahlerian’s \n          collection; the question is whether a newcomer or an established collector \n          should contemplate forking out for this XR re-mastering by Andrew Rose. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          I have long been a fan of Pristine’s engineering and just recently \n          extolled the extraordinary clarity and depth which Mr Rose has breathed \n          into the Furtwängler La Scala \u003ci\u003eRing\u003c\/i\u003e. I am invariably impressed \n          by what he can do for venerable recordings and I can certainly hear \n          how he has reduced hiss, enhanced lower frequencies and revealed the \n          brass and chorus in greater glory. However, after repeated close comparison \n          with the CBS issue - originally very well recorded by Philips - I cannot \n          in all conscience claim that anyone who already owns it need rush to \n          replace it with this Pristine single disc, especially as the CBS double \n          CD set, offering the First Symphony too, is available at bargain prices. \n          Indeed, occasionally I even felt that that the CBS engineering retained \n          more bite and body than the Pristine version. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s vision for this work is one of quiet mastery and concentration; \n          there is nothing showy or interventionist about his conducting but under \n          his direction the music seems always to be doing just what it should. \n          He never lingers or indulges and those looking for the equally masterly \n          but very different, slower approaches of Tennstedt or Levine or Klemperer’s \n          more granitic assault, will be surprised. Walter’s version fits \n          neatly onto one disc but he never seems to be rushing. He storms heaven \n          with an orchestra - here correctly credited as the New York Philharmonic, \n          which was originally billed as the “Columbia Symphony Orchestra” \n          for the usual contractual reasons - which plays out of its skin. \u003cbr\u003e\n            \u003cbr\u003e\n          The key to the first movement lies in the instruction “maestoso”; \n          Walter maintains a steady, majestic and inexorable stride in this funeral \n          march, but also permits the pastoral interludes to unfold gently, uniting \n          the two moods with a firm sense of purpose. His control is absolute; \n          he knows how to meld the contrasting and conflicting moods into a coherent \n          narrative. When the menacing opening theme returns on the insistent \n          brass, the discords build and build to a thrilling climax at 14:54 before \n          the tantalising offer of consolation subsides into a wholly ambiguous \n          conclusion, reflecting Mahler’s ambivalence about his search for \n          God; Walter displays a wholly convincing understanding of the spiritual \n          dimension of this symphony. \u003cbr\u003e\n            \u003cbr\u003e\n          The Andante unfolds with lilt and charm; Walter’s subtle rubato \n          and the singing cello tone effortlessly convey the recollection of happy \n          memories in a past life. This restrained style perhaps carries over \n          too much into the “St Anthony preaching to the fishes” movement, \n          eliciting a criticism from some quarters which has some validity, that \n          he is a tad too blithe and relaxed to capture fully the grim and bitter \n          irony of the saint’s efforts; the music here should sound like \n          a metaphor for the circularity and pointlessness of life’s frustrations, \n          but yet again Walter secures a powerful close to the movement. \u003cbr\u003e\n            \u003cbr\u003e\n          “Urlicht” is tender and prayerful, as it should be. Maureen \n          Forrester’s smoky, rich-toned contralto, with its appealing, flickering \n          vibrato, is amongst the very best in this music; only Janet Baker in \n          her many versions and perhaps Jessye Norman for Maazel surpass her. \n          The monstrous finale is simply glorious: Emilia Cundari - a singer with \n          whom, I confess, I am entirely unfamiliar - is silvery and soaring, \n          while Forrester intones her text like the Cumaean Sibyl. The Westminster \n          College Choir is wonderfully expressive, first mysterious, then impassioned \n          and ecstatic. The otherworldly off-stage effects in the “Grosse \n          Appel” are highly effective and in the last ten minutes are amongst \n          the most serene and ethereal of any recording. Consistent with his strategy \n          in directing the whole symphony, Walter makes a slow-burn progress towards \n          an overwhelmingly powerful climax. \u003cbr\u003e\n            \u003cbr\u003e\n          Whether you buy it on Pristine or CBS, this is an essential interpretation. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          \u003cb\u003e\u003ci\u003eRalph Moore \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC385.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter, \"whose reading may be accepted as authentic\", conducts Mahler's 2nd\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eFabulously improved sound quality for \"this admirable issue\" in this 32-bit XR remastering\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eAs with other issues in this series of Bruno Walter's Mahler recordings, Pristine's 32-bit XR remastering system has succeeded in delving deep into the original recording to reveal new depths and new heights. Where previously the brass sounded perhaps a little veiled, now they can be heard in all their blazing glory. Meanwhile the choir opens out wonderfully, making previous issues sound perhaps a little strangled by comparison. Finally the full rumbling majesty of the lowest organ stops can be felt as well as heard to marvellous effect. The Gramophone's reviewer talks about an \"apocalyptic\" performance - now we can hear it in sound to match that artistic vision.\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 2, \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003eOp. 47 \"Resurrection\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmilia Cundari \u003c\/strong\u003esoprano\u003cstrong\u003e\u003cbr\u003e Maureen Forrester \u003c\/strong\u003econtralto\u003cstrong\u003e\u003cbr\u003e Westminster Choir\u003cbr\u003e John Finlay Williamson \u003c\/strong\u003echorus master\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e New York Philharmonic Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003eBruno Walter \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e 1st mvt. recorded 17 February 1958\u003cbr\u003e 2nd \u0026amp; 3rd mvts. recorded 21 February 1958\u003cbr\u003e 4th \u0026amp; 5th mvts. recorded 18 February 1957\u003cbr\u003e Carnegie Hall, New York\u003cbr\u003e First issued as Columbia M2L 256\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e XR remastering by Andrew Rose at Pristine Audio, April 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 79:40\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC385.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC385.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW 1959 UK LP issue\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIn good time for next year’s Mahler centenary comes a recording which is certain to make a strong appeal to all real Mahler enthusiasts, all the more since it is conducted by the composer’s distinguished disciple, Bruno Walter, whose reading may be accepted as authentic and who clearly loves this music. The Second Symphony, provided by Mahler with a weighty “programme” about life and death, the Last Trump and the resurrection of the dead, and the assurance of a life hereafter (“Sterben werd* ich, um zu leben”), is nevertheless a work which takes a good deal of stomaching. Faced with concepts of such magnitude, Mahler becomes merely grandiloquent: the enormous apparatus he demands—a huge orchestra, with large reserves of extra brass and percussion, organ, chorus and soloists—ends jby becoming unwieldy; the suspicion increases, as the symphony’s vast length unfolds, that it would have been the better for more matter and less art; and it cannot be denied that at the very point where nobility of thought is needed, Mahler (like Strauss in a similar context) falls dangerously near bathos. For all that, beneath all the pomp there lie some characteristically striking and beautiful ideas, and when Mahler, for contrast, reverts to the vein of childhood innocence and naivete—as in the Landler movement - (based on one of the Knaben Wunder horn songs)—he is at his most charming. Indeed, there may be more of heaven here, as seen through the eyes of a child, than in all the alarums and excursions later.\u003cbr\u003e\u003cbr\u003eThe Klemperer recording which has been the only one available until now was not particularly satisfactory, owing to the general sense of constriction, the restricted dynamic range and the string quality, which tended to sound starved just when it should have been most opulent. The present issue, except for a short patch in the finale where the engineers, not altogether surprisingly, seem to have feared for the safety of their equipment and have brought their fader down a notch or so, is remarkably well recorded, with particularly good balance and excellent quality. Adequately to contain Mahler’s vision of the heavens opening, with trumpets disposed to right and left, near and far, stereo at least is called for (and, in fact, the stereo version exists in America); but even in mono this does not overload. It is Walter’s interpretation, however, which is the real joy of this issue: not only is he more apocalyptic than Klemperer, but in the lyrical passages he brings far more grace to the music. The second subject of the opening movement, for example, has more Viennese charro, without, as in the previous recording, turning into mere goo at the recapitulation; the Landler flows more easily (what lovely singing tone from the ’cellos, incidentally!); and the Scherzo, which before seemed unduly protracted, is taken at a better speed and is more pointed rhythmically. Though one should not forget the wonderfully steady singing of Hilde Rössl-Majdan in the earlier set, the soloists and chorus here are very good, and complete the attraction of this admirable issue.\u003cbr\u003e\u003cbr\u003eL.S., The Gramophone, June 1959\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34255886349,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34255886413,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34255886541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385.jpg?v=1489743208"},{"product_id":"pasc385-cd","title":"WALTER conducts Mahler's Second Symphony (1957-8) - PASC385 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178765,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178829,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385_b2d2c1d6-8f14-4c45-8598-25ac96e8af1c.jpg?v=1658309344"},{"product_id":"pasc389","title":"WALTER Mahler Symphony No. 9 - World premiere recording (1938) - PASC389","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 71:00\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVienna Philharmonic Orchestra \u003cbr\u003e Bruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis famous performance demands to be heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI detest the current almost universal use - one might say abuse - of the\n word ‘iconic’. However, I might stretch a point in the case of this \nfamous recording of Mahler’s Ninth. It was taken down live, in an act of\n extraordinary vision, by Fred Gaisberg and his HMV team in January \n1938. That was just a matter of weeks before the Anschluss which made \ncontinued life in Austria an impossibility for Bruno Walter and a good \nnumber of the players who had taken part in this performance. \u003cbr\u003e\n  \u003cbr\u003e\nIt was only a few months ago that I welcomed a fine Pristine \nre-mastering of Bruno Walter’s 1961 stereo recording of Mahler’s Ninth \nand now we have a new transfer from them of the celebrated 1938 \nrecording, which was the first-ever recording of the symphony. \nIncidentally, if Pristine gave the correct date for the 1961 recording -\n and in my \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Mar13\/Mahler_Walter_PASC376.htm\"\u003ereview\u003c\/a\u003e\n I suggested they may not have been quite correct - then the sessions \ntook place forty-three years to the day after the 1938 Vienna \nperformance. While on the subject of dates, I’m intrigued to see that \nPristine indicate that the 1938 recording took place over \u003ci\u003etwo\u003c\/i\u003e \ndays. I’ve always believed that HMV recorded a single performance - on \n16 January - and that seems to be confirmed by a 1944 article by Fred \nGaisberg in which he specifically states that the performance was \nrecorded that day though he does also say that there were “five \nrehearsals during which our engineers could make their tests and \nexperiments in ‘mike’ positions.” That article is reprinted in the \nbooklet for the transfer of the performance that I’ve owned for many \nyears. It’s a transfer by Michael J Dutton (Dutton Essential Archive \nCDEA 5005). \u003cbr\u003e\n  \u003cbr\u003e\nSo much has been written about this extraordinary reading that it seems \nalmost superfluous to say more. It’s often a scalding interpretation and\n the urgency of the music-making is as remarkable as it is palpable. In \nmy review of the 1961 disc I drew attention to the fact that the 1938 \nreading is some twelve minutes shorter. In the absence of any other \nrecordings of Walter around this time it’s impossible to know how \nrepresentative of his thoughts on the symphony at the time this 1938 \nevent was. One would normally assume that a performance presents the \nartist’s considered view at the time it was given but it’s possible that\n the feverish political atmosphere in Austria in early 1938 - and the \ntrepidation this must have caused people like Walter - may have added an\n extra febrile quality to his music-making at the time. Having said \nthat, a photograph of him, which was taken in the green room immediately\n before the 1938 concert, shows him looking serious but calm. \u003cbr\u003e\n  \u003cbr\u003e\nThe performance was discussed in some detail by Tony Duggan in his \u003ca href=\"http:\/\/www.musicweb-international.com\/Mahler\/mahler9.htm\"\u003esurvey\u003c\/a\u003e\n of some of the recordings of the Ninth and I largely concur with his \njudgements. I share his relative disappointment over the quite swift \npacing of the finale but Tony seems happier with the very sturdy pace \nfor the second movement \u003ci\u003eLändler\u003c\/i\u003e than I am: it seems almost stolid\n to me. I could also wish that Walter had been more expansive in the \ntrumpet-led nostalgic episode in the third movement (from 5:38). Tony \nwas absolutely right to comment on the strain under which the orchestra \nis audibly working and one of the ironies is that the clearer a modern \ntransfer is the more those frailties show up. One wonders whether the \nfrequent fallibilities in the playing owe more to the unfamiliarity with\n this complex score or to those volatile times. It’s salutary to \nremember that this was then a very new piece: Walter had led the \npremiere only in 1912 and one wonders how many members of the VPO had \nplayed it before. \u003cbr\u003e\n  \u003cbr\u003e\nA comparison of this new Pristine transfer and the one by Michael Dutton\n has been very interesting. The first bit of comparative listening I did\n - the opening of the first movement - was to the Dutton disc. Leaving \nthe controls unaltered I then played the same passage on Pristine. The \nPristine transfer is at a higher level and, to be honest, a comfortable \nlevel for listening to Dutton was a little uncomfortable for Pristine. \nOverall, my impression is that the Pristine sound is a little more \ndefined but it’s also rather fierce at times. I think perhaps Andrew \nRose of Pristine may have retrieved a bit more detail from his source \nmaterial - but there’s a good deal of detail on the Dutton transfer too.\n Thus, for example, we can hear it quite clearly when a member of the \norchestra drops something during the first movement (7:24); it’s just \nthat bit more obvious on the Pristine version, as is audience noise \ngenerally. Perhaps there’s a little more space round the orchestral \nsound in the Pristine transfer but it’s marginal and you get a good \nsense of the hall’s ambience in both transfers. \u003cbr\u003e\n  \u003cbr\u003e\nThe Dutton transfer makes for more comfortable listening when the \norchestra is playing loudly. Thus, for example, the first big climax in \nthe first movement (around 3:00) sounds a bit strident with Pristine and\n later on in the same movement (around 19:50) the brass do blare rather \nmore than they do with Dutton. On the other hand, lightly scored \npassages, such as the end of that movement, come off well with Pristine.\n I’ve referred earlier to Walter’s sturdy way with the \u003ci\u003eLändler\u003c\/i\u003e \nmusic in the second movement. Near the start of the movement he gets the\n strings really to dig in and the sense of that is almost tangible with \nPristine. \u003cbr\u003e\n  \u003cbr\u003e\nCome the great concluding Adagio and I think it’s the Dutton transfer \nthat does more justice to the tone of the VPO strings. Whichever version\n you hear allowances have to be made for the age of the recording but \nthere’s more edge to the sound of the strings with Pristine. Both \nversions report a good, solid string bass sound. The big climax, \nstarting around 12:00, is another example of unpleasantly blaring brass \nin the Pristine transfer. This is another instance where the Dutton \ntransfer tames the brass a bit more - to beneficial effect. In either \nversion it’s fascinating to listen from about 15:00 and to hear the \nsuccession of downward \u003ci\u003eportamenti\u003c\/i\u003e in the strings (around 15:20). \nThere’s aching nostalgia in the playing and a sense of a world that was \nvery soon to vanish for ever. As I listened to the last two or three \nminutes of the movement in each transfer I forgot about making \ncomparisons. \u003cbr\u003e\n  \u003cbr\u003e\nAfter I’d done my listening and as I sat down to type up this review I \ndecided to see what Tony Duggan had had to say about Walter’s 1938 \nrecording. I was interested to see that he’d compared an old EMI \nRéférences transfer, which I used to own years ago, with the Dutton. \nWhile praising the latter for, among other things, a gain in detail, he \nfelt that the EMI transfer offered a more comfortable listening \nexperience. As it happens that sums up my feelings after this present \ncomparison. The Pristine transfer is very clear and present but perhaps \nit shines too bright and unforgiving a spotlight. Some may feel that the\n Dutton tames the sound too much but I feel that it offers a more \ncomfortable experience for domestic listening - though, arguably, \nlistening to Mahler’s Ninth should never be ‘comfortable’. \u003cbr\u003e\n  \u003cbr\u003e\nIf you already have the Dutton I see no reason to part with that and \nacquire the new Pristine version. However, whichever transfer you opt \nfor this famous performance demands to be heard. It’s amazing that this \nremarkable, truly historic reading speaks to us, and does so vividly. \nseventy-five years after it was given. For that we must give thanks for \nthe vision and technical skills of Fred Gaisberg and his team and also \nfor the skill and dedication of transfer engineers such as Michael \nDutton and Andrew Rose. \u003cbr\u003e\n  \u003cbr\u003e\n\u003cb\u003e\u003ci\u003eJohn Quinn\u003c\/i\u003e\u003c\/b\u003e  \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC389.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's world première recording of Mahler's 9th Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"I would urge everyone who cares about Mahler to listen to it\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBruno Walter's historic first recording of Mahler's 9th \nSymphony, which he takes some eleven minutes faster than his 1961 \nColumbia recording (PASC376) has long been regarded as one of the great \nartefacts of the history of music recordings. It was remarkably \nwell-made for its day, and here, after extensive XR remastering work, is\n revealed to have held within the grooves a quality of sound that is \nquite incredible for any 1930s recording. Despite some occasional upper \nend distortion, this is a full frequency recording, and it sounds \nmagnificent as a result.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 9 in D major\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003eBruno Walter \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e Recording Producer: Fred Gaisberg\u003cbr\u003e Recorded 15-16 January 1938, Musikvereinssaal, Vienna\u003cbr\u003e First issued as HMV 78s DB.8569\/78\u003cbr\u003e Matrix Nos. 2VH.7027-46\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e Total duration: 71:00 \u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, January-June 2013\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC389.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC389.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW 1989 CD reissue\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eBruno Walter conducted the first performance of Mahler’s Ninth Symphony in 1912 (it is dedicated to him) as well as this, its first commercial recording. It bestrode no fewer than ten 78 rpm discs and consumed many fibre needles! (I recall paying five shillings or 25p a record for this secondhand—and playing the set almost every evening for weeks on end, doubtless to the despair of those within earshot.) Although later performances (including Walter’s subsequent CBS recording in the early 1960s) have offered more polished orchestral playing and more vivid recording, none brings one closer to its world of feeling or takes one more deeply into its spirit. Its fires are white-hot and there is a blazing intensity that in my experience has never been surpassed on the gramophone. There is a demonic passion to the Rondo Burlesque (the orchestra play as if their corporate life is at stake) and the final Adagio has a poignancy that once heard is not easily forgotten. Even younger readers unencumbered by nostalgia will, i think, recognize the authenticity of feeling here, and I would urge everyone who cares about Mahler to listen to it.\u003cbr\u003e\u003cbr\u003eOf course, there can be no such thing as a 'definitive' performance but this is as near as one can get. This and a modern recording such as the Karajan (DG) or the Bernstein (CBS) are all one needs. Some years ago the Walter was excellently transferred to LP by Anthony Griffith (World Records-nla) with the Adagietto from the Fifth Symphony and the Siegfried Idyll as a fill-up. Let us hope that room can be found for the former as a fill-up, say, to Walter’s 1936 set of Das Lied with Kerstin Thorbord and Charles Kullmann, which must surely follow before too long. The digital remastering by Keith Hardwick enables one to hear more detail than before. As AB’s note says, “more then 50 years later it [the Mahler Ninth] still carries a unique charge in terms of dedication and intensity of utterance”.\u003cbr\u003e\u003cbr\u003eR.L., Gramophone, August 1989\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW 1939 78rpm release\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis, I understand, is a limited issue, which will be prized by those who love the composer’s music, not only for its own sake, but because of the associations of Walter and Vienna. The admirable recording was made at a concert a year ago. The conductor has written of Mahler with persuasive affection, and here is his testament of interpretation about a work that cannot be heard without deep sympathy for a composer who did not live to hear it. If he had, it seems likely that he might have compressed parts of it. It cannot be denied that extreme length is apt to deter well-wishers ; but it may be more rewarding, in the end, than acerbic brevities in which the heart pulsates too feebly, and the rhythm too brashly: a pulsation oddly paralleled, one notes, in the cock-a-whoops of the petty, who cannot uphold their idols without spitting upon those who do not share their adolescent enthusiasms: the surest sign, this, of the true shamateur, There is room for every kind of real devotion, whose deepest proof is often the quietness of the devotee, but I have no use for the mere fandom of the half-baked, One may well wish enthusiasms to be shared (though, as a medical writer on the late “slashings” pointed out, the followers of evil, just as much as the devotees of righteousness, are urgent to make converts) ; but I think the great bulk of intelligent music-Iovers now realise (even if other would-be dictators do not) the silly futility of attempted conversion by the bludgeon.\u003cbr\u003e\u003cbr\u003eWe listen, then, with all possible sympathy to these distinguished records of music that came at the end of a life too soon cut off (Mahler was little over fifty when he died in 1911). His belief in devotion to spiritual intimations was well expressed in his saying “One docs not compose: one is composed.” E. N. has aptly said “Mahler’s is the last noble mind in German music,” He sings, in the Song of the Earth, his twilight song. In the ninth symphony, which came after, the feeling is perhaps more equally divided between personal resignation and our sense of the end of German romanticism. Strauss, in some measure, had similarly sung, but in Mahler is a spirit of finer texture : one might say of it at its best, of divination. Heard against the background of historical knowledge, and with some appreciation of the forces that we now clearly see were piling up in those so deceptive years of the first decade of the century ; heard, too, with some understanding of the Austrian scene, of Mahler’s desire to escape from his long toil in the opera-housc, such music has much to say to the inseeing and inhearing. The quieter moods of the first movement are so quickly broken by dramatic urgencies ; here is obviously a powerful drive of interplaying forces ; superficially the most immediate reference is to the Strauss tone-poem style, but no “programme” is given us. We shall probably regard the music as a mentally concentratcd (if physically extended) working-out of problems not new, but now seen more clearly and more sharply suggested to the listener.\u003cbr\u003e\u003cbr\u003eThe second movement (beginning at side 8) turns again to the simplicities of old German and Austrian life, by making use of the style of the country dance, the Ländler ; but tills is no happy motion of minds at rest and bodies glad to keep them so. Not only the very striking orchestration (that throughout makes the music so vivid, even if sometimes almost affrighting), but the abrupt, perhaps harsh-feeling ejaculations bring a sense of doubt, which some might interpret as bearing a heart of sadness, expressed in a brusque heaviness. Though one does not at all attempt a comparison of values, it comes to my mind that here is some tincture of thinking-into-the-future, as well as of the past, not unlike (yet on a different plane to) that which late-Beethoven injects into an otherwise pcaccful world—and, so doing, makes it uneasy, dangerous, foreboding. We should not read too much, where so little was given out ; but the music does seem full of strange finger-posts, an impression not lessened by repetition.\u003cbr\u003e\u003cbr\u003eThe third movement (side 13), called “Burleskc,” adopts a more open wildness and stronger contrasts, and develops the contrapuntal art that Mahler so greatly esteemed (Bach and Beethoven were his prime delights). The word “ bitter ” is much in one’s mind ; but it is not easy to define the nature of the music, as its so varying lights sweep the sky of the mind of composer and listener. One searchlight may pick out an object for A, whilst another light momentarily blinds B. A cloud, even, may seem like a bomber.\u003cbr\u003e\u003cbr\u003eFinale (side 16). It is in moments such as the beginning of this movement that the faith of some who may have wavered about Mahler should be deepened. That does not at all mean that I think one ought to cherish equally everything written by a man who can write greatly ; I am all for making distinctions ; and the strongest of them all is, I think, not made for us, but by us: to adapt Mahler’s phrase that I quoted, about composition, we do not, in the end, distinguish, we are distinguished (however undistinguished, in one sense) : nature, temperament, upbringing, determine our bent: and so, perhaps, the less we deave others about that the better. But however we choose to regard late Mahler—whether as chiefly a testimony of unrest, uncertainty, self-doubt, as a more important future-forecasting than some of our friends consider it, or even as a too poignantly coloured decadence of romance, I cannot think that so remarkable a revelation of the man's spirit at the end of his life can fail to impress any musical mind and move any open heart.\u003cbr\u003e\u003cbr\u003eW.R.A., The Gramophone, January 1939\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34261191693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34261191757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34261191821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34261191885,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC389_48a2fa69-807c-4e0e-baf0-f9a0d3bc02c1.jpg?v=1489747295"},{"product_id":"pasc389-cd","title":"WALTER Mahler Symphony No. 9 - World premiere recording (1938) - PASC389 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478181581,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478181645,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC389_e5dc7f98-ffce-4eaa-9f19-3c4d352a997b.jpg?v=1658309417"},{"product_id":"pasc265","title":"KLEMPERER Mahler: Symphony No. 2 \"Resurrection\" (1951) - PASC265","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 2 'Resurrection'\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded Amsterdam, 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 71:26 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eJo Vincent, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eKathleen Ferrier, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eHolland Festival Chorus\u003cbr\u003eConcertgebouw Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eOtto Klemperer\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended, if you’re in the market for a good-sounding edition of this unique performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s edition of this famous, and \noften-reissued, performance is very welcome. The recording was never a \nsonic prize. The transfer I have for comparison is Guild’s; the new one \nis more open, though it still lacks impact and needs a volume boost. As \nwith some other Pristine releases, I find the noise reduction employed \nexcessive in the quietest passages—e.g., Rehearsal 24 in the first \nmovement, which sounds muffled and distant.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performance is the fastest, by a considerable \nmargin, of Klemperer’s many versions of this symphony—indeed one of the \n(if not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) \nfastest ever, by anyone (for all his reputation for slowness, Klemperer \ncould really go to the other extreme in some works, most notably \nBruckner’s Fourth and the present one). It’s exciting all right, but \noften, I find, at the price of an impatient, ruthless feeling.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first movement flies by at 17:42, in a \nstraight-ahead, take-no-prisoners approach with little concession to \nMahler’s detailed directions for tempo modification—in this respect, the\n diametrical opposite of Scherchen’s imaginative response to detail and \nextreme rhetorical molding (Vienna State Opera Orchestra\/Westminster, \n1958). The great opening paragraph is jagged, angular, and clipped, and \nnot ideally firm in rhythmic control. The lyrical episodes (Rehearsals \n3, 7, etc.) sound perfunctory, as if Klemperer was bored by them. But he\n is superbly cutting and dramatic in the development section, inspiring a\n memorably brilliant, abrasive response from the orchestra. In the coda,\n the intricate contrapuntal textures are given insufficient breathing \nspace; the effect is merely impatient, Mahler’s magisterial spookiness \nhere going for little. The ending’s descending chromatic scale is \ngalloped through at breakneck speed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe second-movement \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLändler\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is brisk and unsentimental. There is a severe quality, a refusal to \ningratiate; although the strings play with plenty of portamento there is\n curiously little Viennese feeling. The twisting, turning Scherzo is a \nhighlight of the performance, its edgy, sardonic character caught to \nperfection. Kathleen Ferrier’s (or rather, Klemperer’s) \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUrlicht\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is brisk, straight, and businesslike. The finale has high drama aplenty, as in the volcanically eruptive opening, or the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ekräftig\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n march after Rehearsal 15. There is a compelling seat-of-the-pants \nspontaneity to the whole thing; listen to those recitative-like passages\n at Rehearsals 7 and 21—perilously hard-driven, with some \nall-too-obvious confusion in the orchestra’s ranks! The final section \nhas an exciting sweep, though it’s a little short on breadth. Both \nsoloists are excellent.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs I say, the performance represents an extreme, \neven in the context of Klemperer’s uncompromising conception of the \nwork. Another live version from the same year (Vienna Symphony, \nTestament) is a little more sympathetic, less hard-driven, but the \nVienna Symphony is not the Concertgebouw. By the 1960s, his conception \nhad mellowed to a degree, and two further live versions with the Vienna \nPhilharmonic (1963, Music \u0026amp; Arts) and Philharmonia (1964, Testament)\n exhibit, to my ears, a more satisfying balance of excitement and \nbreadth (a Bavarian Radio version from 1965 [EMI] certainly has its \nmoments, but by this time his conducting was beginning to lose something\n of its former grip). And of course there’s a lot to be said for the \nstudio refinement of the classic EMI recording with the Philharmonia in \n1961–62 (as for his other studio recording, with the Vienna Symphony in \n1951 for Vox, it’s hard to imagine preferring it to anything). \nComparison to other conductors is hardly to the point here—this is \nobviously worlds apart from Walter’s richly idiomatic, Viennese way with\n the composer; and of course both conductors’ approaches could claim an \nunbroken link to Mahler himself.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRecommended, if you’re in the market for a good-sounding edition of this unique performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC265.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eKlemperer's legendary 1951 live Mahler Resurrection Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eWith an outstanding performance from Kathleen Ferrier - new XR remastering\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eDespite this recording being made well into the age of tape and widespread use of the magnetic recording medium, there were numerous clues to suggest that this recording was originally made onto pretty standard 12\" 78rpm acetate discs by the Dutch radio station, Katholieke Radio Omroep, albeit well-made, well-preserved and quiet ones. Because the discs would have been cut on alternating machines, it was possible to see an increase in rumble below about 40Hz every other disc, with disc changes thus obvious at roughly 4-minute intervals. Furthermore some very light repetitive surface ticks at the start of the first movement indicated a speed of almost exactly 78rpm. Finally a side join during the first movement suffers slight phasing (which I've attempted to diminish) as the music crossfades from the end of one disc to the beginning of the next.\u003c\/p\u003e\n\u003cp\u003eHowever, the biggest shortcoming of this recording lies in its frequency range, which pretty much gives up just above 10kHz, thus depriving the listener of the very high frequencies which give a sense of 'air' around a recording, as well as enhancing particularly the brightest brass and percussion. However, by a careful use of XR remastering's tonal rebalancing I've been able to create a much fuller, clearer sound than previously heard, one which greatly enhances the dynamic impact of this superb performance.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 2 in C minor, Op. 47 \"Resurrection\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded Holland Festival, Concertgebouw, Amsterdam, 12th July, 1951\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cb\u003eJo Vincent, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eKathleen Ferrier, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eHolland Festival Chorus\u003cbr\u003eConcertgebouw Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eOtto Klemperer\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2011\u003cbr\u003e Cover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 71:26 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Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC265.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC265.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine 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CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478233869,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478233933,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC265_fb3d6bac-2e81-4b9b-b0ae-93105ce3da77.jpg?v=1658245756"},{"product_id":"pasc108","title":"WALTER Das Lied von der Erde (1936) - PASC108","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1936\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 57:40\u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp class=\"footer\" align=\"left\"\u003e\u003cb\u003eKerstin Thorborg, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eCharles Kullman, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC108.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eThe world-première recording gets the XR treatment\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eOur first 24-bit release\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan class=\"body\"\u003eThe original 78s for this restoration were kindly supplied from the colleciton of Donald Dean, and were in excellent condition. Nothing prepared me, however, for the transformation brought about by the XR equalisation process, which really brings this entire recording to new life. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe considerable extra treble response heard here (by comparison to other issues) did reveal a degree of swish present on most sides, which required extensive manual treatment, one at a time. With an average of over 300 swishes per side across 14 sides, this is an awful lot of swish removal!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eKerstin Thorborg, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eCharles Kullman, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003eRecorded live in Vienna on 24th May, 1936.\u003cbr\u003e\u003cbr\u003eIssued as UK Columbia 78s ROX.165-171\u003cbr\u003eMatrix nos. CHAX.125-138 - all matrices with suffix -2 except side 10: CHAX134-3\u003cbr\u003e\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, April 2008\u003cbr\u003eCover artwork based on a photograph of Gustav Mahler\u003cbr\u003e\u003cbr\u003eTotal duration: 57:40\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC108.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC108.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":8818216566845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":8818216599613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":8818216632381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":8818216665149,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC108_9134cae4-753c-4e7e-8c38-4968e30c8ca5.jpg?v=1530548475"},{"product_id":"pasc109","title":"WALTER Das Lied von der Erde (1952) - PASC109","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 11px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 59:57\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eKathleen Ferrier, \u003c\/b\u003econtralto \u003cb\u003e\u003cbr\u003e Julius Patzak, \u003c\/b\u003etenor \u003cb\u003e\u003cbr\u003e Vienna Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe restoration is nothing short of magnificent578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis, of course, is the most famous studio \nrecording ever made of Mahler’s great symphonic song cycle. It’s \ncurrently available on a reissue by the nominal original label, Decca \n466576, as well as on Regis 1146. The latter disc also contains a \nFerrier performance of the Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlto Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Clemens Krauss and the same orchestra from 1947. Yet this is as \ndemonstrably superior in sound quality to either of those as EMI’s most \nrecent issue of the Klemperer Mahler Fourth (67035) is to any other \nprevious edition.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe reasons will be obvious to anyone familiar \nwith this recording from the very first notes. The sound is fuller, more\n natural, and less edgy on the top end than any past or present CD \nincarnation. About a quarter-century ago, at the dawn of the CD era, I \nowned this on a different Decca issue, but eventually gave up on it \nbecause, although the sound was clear enough to allow you to hear the \nstays on the oboe, it was also slightly uncomfortable to my ears.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor me, personally, this is the best of the four \nWalter performances I’ve heard, the others being Thorborg\/Kullmann \n(1936); Ferrier\/Svanholm, with the New York Philharmonic (1948); and \nForrester\/Lewis from 1960. It’s one of his swiftest readings, coming in \nunder an hour, and actually less romantic in feeling than Otto \nKlemperer’s supposedly non-romantic recording from 1965. But it is not \nmy all-time favorite reading of the score, great as it is. That honor \ngoes to the little-known 1939 Dutch broadcast by Thorborg, Carl Martin \nÖhmann, and the Concertgebouw Orchestra conducted by Carl Schuricht (Bel\n Age 15). For me, Schuricht conducts the most intense and texturally \ntransparent reading on records, bar none; the 1939 sound quality is \nabsolutely stupendous for its time; and Öhmann is the finest tenor \nsoloist I’ve \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eever \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eheard\n in this work. (I should also mention that my favorite stereo\/digital \nreading is the out-of-print DG disc with Brigitte Fassbaender, Francisco\n Araiza, and Carlo Maria Giulini conducting the Berlin Philharmonic, a \nrecording savaged by critics for reasons I could never quite fathom. \nDespite slower tempos, Giulini’s pacing and shaping are simply magical, \nand the way Fassbaender’s voice melts into nothingness in “Der Abschied”\n still sends chills down my spine.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut back to this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eJulius\n Patzak was a very great artist who was simply not born with a great \nvoice. Even in the best of circumstances, its tone was thin and rather \ncolorless, yet to listen to the intelligent way he sings here is to \nunderstand why both Walter and Furtwängler admired him—also why he was \nconsidered a great Florestan in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n despite having a very small, un-Florestan-like voice. Ferrier, on the \nother hand, had one of the great voices of all time. Relistening to her,\n I was struck by how much she, like Louise Kirkby-Lunn and Helen Watts, \nsounded like a German contralto. Her low range is so effortless as to \nalmost sound bottomless: she sounds as if the voice extended at least \nthree notes further down than the lowest note she sings. Her \ninterpretation, particularly in “Der Abschied,” has always been a matter\n of personal taste (she does not really sing softly in all the passages \nmarked as such, but in fact sings out forte on certain notes), which for\n me discounts it slightly—but only slightly—in comparison to the other \nrecordings I’ve named. But omigod could she sing. No one, in my memory, \nimparts such geniality and lightness to “Von der schönheit” as Ferrier. \nHere, no one can touch her, not even Thorborg or Fassbaender.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Vienna Philharmonic, like the New York \nPhilharmonic, always had Mahler “in its blood,” so to speak, and they \nplay their hearts out for Walter here. One little thing I noticed which \nI’d forgotten: the solo violin in “Der trunkene in Frühling” plays with \nmuch more portamento than we’re used to nowadays.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you admire this recording as much as I do (or \nmore), this is clearly the pressing to own. The restoration is nothing \nshort of magnificent. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 32:2 (Nov\/Dec 2008) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC109.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eOne of the great recordings of all time \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eXR remastering brings a new depth and dimension \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003eIt may come as something of a surprise to find this recording here at Pristine Classical - it can surely never have left the catalogue in its Decca release, and was most recently remastered by decca from their master tapes as recently as 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIt was during the preparation of our issue of the same piece in its 1936 world première recording (PASC108) that curiosity got the better of me and I obtained a copy of one of the movements of the 1952 recording from iTunes in its current incarnation. I was surprised by the sound, but not pleasantly so - it had an unnatural harsh forwardness which grated on the ears, a kind of tiring artificiality which I didn't like. As I had all of the requisite recordings on my system I carried out a quick XR re-equalisation of the movement (the 4th, as it happens), and shared the results with my colleague Peter Harrison of \u003cem\u003edisk2disc\u003c\/em\u003e in England, asking him to tell me which he preferred without informing him which was the Decca issue and which was my own tweaked version.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e It was no surprise to me, but perhaps a surprise to Peter (who has always held Decca's engineers - rightly - in very high regard) to find my XR remastering clearly and considerably improved upon the Decca issue. This testing was done effectively blind, as i did not reveal which file was which until after he'd made his mind up.\n\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIt was at this point that Peter revealed to me that he had a near-mint vinyl copy of the original issue. Taking that same movement, Peter transferred it from the vinyl disc and sent it to me as a lossless 24-bit FLAC file to receive the same XR treatment I'd given the iTunes download. Once again the results were excellent, clearly outshining the Decca CD and LP.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAnd so the perhaps surprising decision was made to restore and issue this well-known recording and put it head-to-head against Decca's own much-praised CD issue. I hope you'll agree with those who've heard and commented on it prior to release that it is not only a truly magnificent recording in its own right, but that this remastering brings us closer than ever to the magic spell cast in May 1952 by the Vienna Philharmonic, Bruno Walter, Julius Patzak, and of course the incomparable Kathleen Ferrier, already only too aware of the cancer that would take her life the following year.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eKathleen Ferrier, \u003c\/b\u003econtralto \u003cb\u003e\u003cbr\u003e Julius Patzak, \u003c\/b\u003etenor \u003cb\u003e\u003cbr\u003e Vienna Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eRecorded in Vienna in May, 1952. \u003cbr\u003e Issued as Decca LPs LXT 2721-2 \u003c\/p\u003e\u003cp\u003eTransfer from LP by Peter Harrison at disc2disk\u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, April 2008\u003c\/p\u003e\u003cp\u003eCover artwork based on a photograph of Kathleen 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16px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMA\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eHLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDas Lied von der Erde\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eLieder eines fahrenden Gesellen (2 performances)\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1946-56\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration:  2hr 25:56    \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMargaret Ritchie, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eNan Merriman, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eEugenia Zareska, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eErnst Haefliger, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra   \u003cbr\u003eConcertgebouw Orchestra of Amsterdam    \u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eEduard van Beinum\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC498.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release brings together for the first time all of Eduard van Beinum’s\nstudio recordings of Mahler works. The LPO version of    \u003cem\u003eLieder eines fahrenden Gesellen\u003c\/em\u003e, Decca’s first Mahler recording,\n    was transferred from original 78 rpm discs. The remaining items were\n    remastered from Japanese, Dutch and American LP pressings.\n\u003c\/p\u003e\u003cp\u003e\n    \u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eCD 1 The Decca Recordings (69:13)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMAHLER: Lieder eines fahrenden Gesellen\u003c\/strong\u003e\n    \u003cbr\u003e\n    1 Wenn mein Schatz Hochzeit macht* (4:04)\n    \u003cbr\u003e\n    2 Ging heut’ morgen übers Feld (4:17)\n    \u003cbr\u003e\n    3 Ich hab’ ein glühend Messer (3:03)\n    \u003cbr\u003e\n    4 Die zwei blauen Augen (5:13)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eEugenia Zareska (contralto)\u003c\/strong\u003e\n    \u003cstrong\u003e\n        \u003cbr\u003e\n        London Philharmonic Orchestra ∙ Eduard van Beinum\n        \u003cbr\u003e\n    \u003c\/strong\u003e\n    Recorded 27 November 1946 and *16 December 1947 in Kingsway Hall, London\n    \u003cbr\u003e\n    Matrix nos.: AR 10891-3, 10892-1, 10893-1 \u0026amp; 10894-2\n    \u003cbr\u003e\n    First issued on Decca K 1624\/5 in album EDA-71\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMAHLER: Symphony No. 4 in G major\u003c\/strong\u003e\n    \u003cbr\u003e\n    5 1st mvt.: Bedächtig. Nicht eilen – Recht gemächlich (15:00)\n    \u003cbr\u003e\n    6 2nd mvt.: In gemächlicher Bewegung. Ohne Hast (8:34)\n    \u003cbr\u003e\n    7 3rd mvt.: Ruhevoll (Poco adagio) (20:04)\n    \u003cbr\u003e\n    8 4th mvt.: Sehr behaglich – “Wir genießen die himmlischen Freuden” (8:55)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMargaret Ritchie (soprano)\u003c\/strong\u003e\n    \u003cstrong\u003e\n        \u003cbr\u003e\n        Concertgebouw Orchestra of Amsterdam ∙ Eduard van Beinum\n    \u003c\/strong\u003e\n    \u003cbr\u003e\n    Recorded April\/May 1952 in the Grote Zaal, Concertgebouw, Amsterdam\n    \u003cbr\u003e\n    First issued on Decca LXT 2718\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eCD 2 The Philips Recordings (76:46)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMAHLER: Lieder eines fahrenden Gesellen\u003c\/strong\u003e\n    \u003cbr\u003e\n    1 Wenn mein Schatz Hochzeit macht (3:52)\n    \u003cbr\u003e\n    2 Ging heut’ morgen übers Feld (3:51)\n    \u003cbr\u003e\n    3 Ich hab’ ein glühend Messer (2:59)\n    \u003cbr\u003e\n    4 Die zwei blauen Augen (5:09)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eNan Merriman (contralto)\u003c\/strong\u003e\n    \u003cstrong\u003e\n        \u003cbr\u003e\n        Concertgebouw Orchestra of Amsterdam ∙ Eduard van Beinum\n        \u003cbr\u003e\n    \u003c\/strong\u003e\n    Recorded 8 – 12 December 1956 in the Grote Zaal, Concertgebouw, Amsterdam\n    \u003cbr\u003e\n    First issued on Philips A00410\/1L\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003cstrong\u003eMAHLER: Das Lied von der Erde\u003c\/strong\u003e\n    \u003cbr\u003e\n    5 Das Trinklied vom Jammer der Erde (8:46)\n    \u003cbr\u003e\n    6 Der Einsame im Herbst (9:23)\n    \u003cbr\u003e\n    7 Von der Jugend (3:07)\n    \u003cbr\u003e\n    8 Von der Schönheit (6:51)\n    \u003cbr\u003e\n    9 Der Trunkene im Frühling (4:19)\n    \u003cbr\u003e\n    10 Der Abschied (28:27)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eErnst Haefliger (tenor) ∙ Nan Merriman (contralto)\u003c\/strong\u003e\n    \u003cstrong\u003e\n        \u003cbr\u003e\n        Concertgebouw Orchestra of Amsterdam ∙ Eduard van Beinum\n        \u003cbr\u003e\n    \u003c\/strong\u003e\n    Recorded 3 – 6 December 1956 in the Grote Zaal, Concertgebouw, Amsterdam\n    \u003cbr\u003e\n    First issued on Philips A00410\/1L\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\u003cp\u003e\nTotal duration:  2hr 25:56    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC498.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC498.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eEduard van Beinum\u003c\/strong\u003e\n(1901 – 1959) was born in    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Arnhem\" title=\"Arnhem\"\u003eArnhem\u003c\/a\u003e,\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Netherlands\" title=\"Netherlands\"\u003e\n        Netherlands\n    \u003c\/a\u003e\n    , where he received his first violin and piano lessons at an early age. He\n    joined the Arnhem Orchestra as a violinist in 1918. His grandfather was\n    conductor of a military band. His father played the double bass in the\n    local symphony orchestra. His brother was a violinist, and the two\n    performed as a violin-piano duo in concerts. As a student at the Amsterdam\n    Conservatoire, he gained conducting experience with several concerts by\n    amateur ensembles. He also conducted concerts by the choir of the church of\n    St. Nicholas in Amsterdam.\n\u003c\/p\u003e\u003cp\u003e\n    Van Beinum was the conductor of the Haarlem Orchestral Society from 1927 to\n    1931. He first conducted the Concertgebouw Orchestra of Amsterdam in 1929.\n    He became second conductor of the orchestra in 1931, under the supervision\n    of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Willem_Mengelberg\" title=\"Willem Mengelberg\"\u003e\n        Willem Mengelberg\n    \u003c\/a\u003e\n    . In 1938 he was named co-principal conductor, alongside Mengelberg. After\n    World War II, Mengelberg was dismissed as principal conductor because of\n    controversy over his (still-disputed) behavior and attitude towards the\n    Nazi occupiers in the Netherlands. According to Kees Wisse, van Beinum\n    \"detested the Nazis and kept himself as aloof as he could.\" Van Beinum did\n    receive a reprimand after the post-war de-Nazification activities, but this\n    was not so severe as to keep him from his post with the Concertgebouw. Van\n    Beinum remained as sole principal conductor of the orchestra after the war.\n\u003c\/p\u003e\u003cp\u003e\n    In 1947 he took over the leadership of the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/London_Philharmonic_Orchestra\" title=\"London Philharmonic Orchestra\"\u003e\n        London Philharmonic Orchestra\n    \u003c\/a\u003e\n    , but left after two successful seasons. According to\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Kennedy_%28music_critic%29\" title=\"Michael Kennedy (music critic)\"\u003e\n        Michael Kennedy\n    \u003c\/a\u003e\n    in his biography of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Sir_Adrian_Boult\" title=\"Sir Adrian Boult\"\u003e\n        Sir Adrian Boult\n    \u003c\/a\u003e\n    , van Beinum was \"not well\", which led the LPO to seek Boult as a successor\n    to him. In general, van Beinum suffered from health problems, including a\n    heart condition, which left him unable to conduct for much of the 1950–1951\n    season of the Concertgebouw Orchestra.\n\u003c\/p\u003e\u003cp\u003e\n    Van Beinum made his US guest-conducting debut in 1954, with the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Philadelphia_Orchestra\" title=\"Philadelphia Orchestra\"\u003e\n        Philadelphia Orchestra\n    \u003c\/a\u003e\n    . He took the Concertgebouw Orchestra on its first U.S. tour later in 1954.\n    In 1956, the year of van Beinum's 25th anniversary with the Concertgebouw\n    Orchestra, he was invested as a Grand Officer of the Order of Orange\n    Nassau, and also received an honorary doctorate from the University of\n    Amsterdam. Outside of the Netherlands, he also served as music director of\n    the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Los_Angeles_Philharmonic\" title=\"Los Angeles Philharmonic\"\u003e\n        Los Angeles Philharmonic\n    \u003c\/a\u003e\n    from 1956 to 1959.\n\u003c\/p\u003e\u003cp\u003e\n    Van Beinum suffered a fatal heart attack on 13 April 1959, on the\n    Concertgebouw podium while rehearsing the orchestra for a performance of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Johannes_Brahms\" title=\"Johannes Brahms\"\u003e\n        Johannes Brahms\n    \u003c\/a\u003e\n    '\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Symphony_No._1_%28Brahms%29\" title=\"Symphony No. 1 (Brahms)\"\u003e\n        Symphony No. 1\n    \u003c\/a\u003e\n    . He was buried in\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Garderen\" title=\"Garderen\"\u003e\n        Garderen\n    \u003c\/a\u003e\n, in the    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Veluwe\" title=\"Veluwe\"\u003eVeluwe\u003c\/a\u003e\n    region, where he maintained a residence.\n\u003c\/p\u003e\u003cp\u003e\n    \u003cem\u003e(Notes adapted from Wikipedia)\u003c\/em\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":35577118477,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":35577118605,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC498_7eb543f2-9ff9-4efa-ac6c-6b3b1de2b704.jpg?v=1491547830"},{"product_id":"pasc498-cd","title":"VAN BEINUM conducts Mahler (1946-56) - PASC498 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":35264220429,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":35264220493,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC498.jpg?v=1658744320"},{"product_id":"pasc055","title":"MENGELBERG Mahler: Symphony No. 4 (1939) - PASC055","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1939 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 57:01 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJo Vincent, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003e Concertgebouw Orchestra\u003cbr\u003e \u003c\/b\u003eConductor: \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC055.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eMahler's Fourth Symphony, written 1899-1901 and first performed under the composer's baton in Munich in 1901, is perhaps the most immediately approachable of his symphonies. Scored for a more modestly proportioned orchestra than elsewhere in his repertoire, and with a pastoral innocence which can sometimes serve to mask dark shadows and undercurrents, it really is a most delightful work. \u003c\/p\u003e\n\u003cp\u003eThe finale, where we hear the soprano singing words from Des Knaben Wunderhorn (a collection of German folk poems dear to Mahler), was originally intended for his Third Symphony; instead it became the seed from which his fourth was to grow. Themes derived from the finale are heard through the first three movements, and yet are written in such a way as to successfully foreshadow that movement. In overall scale the Fourth Symphony is certainly more approachable than its immediate predecessor; its four movements run here to just over 55 minutes - contrast this with the hundred-minute, six movements of the Third.\u003c\/p\u003e\u003cp\u003eThis recording is remarkable in many ways. With regard to sound quality it is simply the most high fidelity recording I've ever heard from the 1930's. Recorded at a live concert (you'll hear the conductor's batton taps at the very start) onto 78rpm acetate discs, it has full frequency range and a huge dynamic range. Although subsequent playing and handling was to damage those discs, by careful, painstaking, and hugely time-consuming restoration work we have been able to restore sections of the recording previously lost under surface noise to something approaching their former glory. We have also tackled some of the sonic inadequacies of the microphones of the day to restore a more even tonal balance to the recording. The net result is quite astonishing to hear - as clean and clear as it must have sounded to the audience at the Concertgebouw in November 1939.\u003c\/p\u003e\n\n\u003cp\u003eSecondly we have to look to the performance, as this is one which is simply unique. Mangelberg had been a close friend and associate of Mahler's; he had been present at the premiere of this symphony; the two conductors (for conducting was for what Mahler was chiefly known during his lifetime) worked on the score together, adding timing marks, annotations and fine detailed notes throughout. \u003c\/p\u003e\n\u003cp\u003eWe cannot know how Mahler paced the work, how he handled the phrasing, or whether Mengelberg's interpretation is even close to that of Mahler. Some will find his almost ceaseless tempo changes impossible to take (and hence we have no review from Bill Rosen!); for others here is a whole new insight into this marvellous piece of music which will both delight and inform at the same time. Personally, I love it!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4 in G major\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJo Vincent, \u003c\/b\u003esoprano\u003cbr\u003e\u003cp\u003e\u003cb\u003e Concertgebouw Orchestra\u003cbr\u003e \u003c\/b\u003eConductor: \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eRecorded live on 9th November, 1939 onto 78rpm acetate discs.\u003cbr\u003eTotal duration: 57:01 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC055.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC055.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":36205195277,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":59210947887438,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC055_d848407c-055e-48b4-a0c1-eaa392c5a3c1.jpg?v=1773919728"},{"product_id":"pasc055-cd","title":"MENGELBERG Mahler: Symphony No. 4 (1939) - PASC055 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478383821,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205565694286,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC055_dff9d57e-0445-4cc7-9a7d-bda197c7a156.jpg?v=1657717660"},{"product_id":"pasc542","title":"HORENSTEIN Mahler: Symphony No. 1 (1953) - PASC542","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:43\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVienna Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC542.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    In November 1922, while still a student, Jascha Horenstein made his\n    professional debut conducting Mahler's then still controversial First\nSymphony with the Vienna Symphony Orchestra. The event took place in the    \u003cem\u003eMusikvereinsaal\u003c\/em\u003e  “where Mahler used to give his concerts”, as he\n    was fond of reminding his interlocutors. In the \u003cem\u003eNeue Freie Presse\u003c\/em\u003e,\n    Vienna’s most prestigious newspaper, Horenstein was perceived as “toiling\n    mightily with his interpretation”, and was characterized as “without\n    question a fanatic, obsessed by Mahler´s music and by his own mission.” The\n    words 'fanatic' and 'obsessed' were used commonly by reviewers of his\n    concerts during the Weimar era.\n\u003c\/p\u003e\n\u003cp\u003e\n    In the years following his Vienna debut, Mahler's First became something of\n    a musical calling card for Horenstein, including for his first appearance\n    with the Berlin Philharmonic in October 1926, a concert attended by\n    Berthold Goldschmidt who described the performance as “fiery and fanatical,\n    full of dynamic exaggerations, but with a clear profile”. Horenstein also\n    chose the symphony for his debut in Frankfurt less than a year later where,\n    according to Adorno, he was favorably compared to the young Mahler by some\n    who had seen and heard the Bohemian composer in action. Thereafter\n    Horenstein conducted the work at least two dozen times in different places\n    before making the present recording of the symphony for Vox Records in\n    Vienna in February 1953.\n\u003c\/p\u003e\n\u003cp\u003e\n    The first reviews were not encouraging. In May 1953 Harold C. Schonberg in\n    the New York Times thought that “Horenstein toys around with the music too\n    much. He tends toward sentimentality; he underlines phrases that need no\n    underlining, and there is a consequent lack of subtlety”, while in the UK\n    the influential Gramophone magazine ended its review by suggesting that\n    owners of a rival version need not bother adding Horenstein's recording to\n    their collections!\n\u003c\/p\u003e\n\u003cp\u003e\n    History has not validated those early reviews and for the next twenty years\n    Horenstein's Mahler First, owing to his unusually lucid grasp of its\n    complexities, became the recording against which all the others were\n    measured, until he re-recorded it in stereo. Its great warmth and\n    spontaneity, executed in a style that would have been familiar to the\n    audiences of Mahler's time, and Horenstein's complete engagement and\n    identification with Mahler's idiom, account for its appeal, despite the\n    inferior recorded sound and some less than stellar orchestral execution.\n    Horenstein's interpretation, quite unlike anyone else's, is notable for its\n    clear textures, his carefully balanced buildup and release of tension in\n    the first and last movements, for the rustic exuberance of the scherzo, and\n    for the alluring blend of poignancy, parody and sentimentality, with its\n    judicious and tasteful use of portamento, in both the first and third\n    movements. In the finale, the strength and weight of powerfully controlled\n    climaxes in the turbulent sections are offset and complemented by a charm\n    and elegance in the lyrical moments that underline its authentic,\n    old-world, Viennese character. Often hailed as one of the handful of great\n    interpretations of this work, Horenstein's carefully measured, lovingly\n    shaped reading continues to attract admirers more than sixty years after\n    its first appearance on disc.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\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: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 1 in D major\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e1. 1st mvt. - Langsam, schleppend - Immer sehr gemächlich \u003cspan style=\"font-size: 12px;\"\u003e (16:52)\u003c\/span\u003e\u003cbr\u003e2. 2nd mvt. - Kräftig bewegt, doch nicht zu schnell, Recht gemächlich\u003cspan style=\"font-size: 12px;\"\u003e  (8:20)\u003c\/span\u003e\u003cbr\u003e3. 3rd mvt. - Feierlich und gemessen, ohne zu schleppen\u003cspan style=\"font-size: 12px;\"\u003e  (11:40)\u003c\/span\u003e\u003cbr\u003e4. 4th mvt. - Stürmisch bewegt – Energisch\u003cspan style=\"font-size: 12px;\"\u003e  (20:51)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVienna Symphony Orchestra    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein\u003cbr\u003e\u003cbr\u003eRecorded in Vienna, February 1953\u003cbr\u003eFirst issued on Vox PL8050, July 1954\u003cbr\u003e\u003cbr\u003eTotal duration:  57:43  \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\/PASC542.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC542.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eM.M., The Gramophone, July 1954\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    To suggest that any performance of Mahler is perfect is to court the wrath\n    of the Mahler enthusiast almost as surely as to suggest that any of the\n    master's works is itself in any way less than perfect. There is, actually,\n    no temptation to suggest that this performance is perfect; but it does seem\n    to me to be highly idiomatic. Clearly an enormous amount of care on\n    Horenstein's part has gone into it, and everything is shaped with an eye to\n    effect; the glissandos gliss with a vengeance, the parodistic sections are\n    very conscious of being superior to the music parodied. If a listener\n    remains unconvinced it will be because he considers these sections to be,\n    in any case, at the feeblest level of the symphony, and their emphatic\n    presentation to be a series of spotlights on the shabbiest part of its\n    fabric.\n\u003c\/p\u003e\n\u003cp\u003e\n    In the outer movements admiration is less encumbered with misgivings.\n    Horenstein often, throughout, stops short of achieving a perfect ensemble\n    especially with the horns, who are at times erratic. At the orchestral\n    level, I prefer the Pittsburgh Symphony Orchestra under William Steinberg\n    on Capitol CTL7042 (April, 1954); and I also prefer the American version\n    interpretatively but such an opinion is even more so than usually a\n    personal one, and not at all necessarily likely to be shared by every\n    listener.\n\u003c\/p\u003e\n\u003cp\u003e\n    Capitol offered a very good recording, and if the Vox had been equally good\n    a choice between the versions would not have been easily made. But although\n    the new disc is entirely presentable - greatly superior for example, to the\n    Columbia version of the work - it falls short, technically, of the Capitol\n    here and there, and suggests no necessity for any owner of that record to\n    consider making a change.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eR.L., The Gramophone, April 1971\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This record originates from the early 1950s and held its own in the\n    catalogue for many years. It still strikes me as a performance of great\n    warmth and has more spontaneity, I think, than Horenstein's recent version\n    with the LSO, admirable though that is in so many respects. Admittedly the\n    orchestral playing is not always impeccable and the balance places the\n    woodwind a little too far forward so that ppp markings do not register as\n    such. The actual quality of the recorded sound calls for a good deal of\n    tolerance and I would hesitate to recommend this to anyone who sets store\n    by vividness of sound and detail. At the same time I must confess that\n    despite the poor recording I have derived more pleasure from listening to\n    this warm-hearted and well-judged reading than I have from many of the more\n    recent versions. Bruno Walter's CBS Classics recording is probably the\n    safest bargain recommendation but echt-Mahlerians will, as I have\n    suggested, find that this reissue has many musical rewards.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRichard Osborne, Records \u0026amp; Recordings, April 1971\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This 1954 performance of the First Symphony strikes me as being very fine.\n    The recording, apart from some damping down in the big climaxes, is\n    perfectly good, the orchestral playing very firm, very characteristic. It\n    is not a 'modern' sounding recording, of course: there are no shimmering\n    perspectives at the start of the symphony. The clarinet fanfares sound very\n    immediate, the horns are rather fulsome, just as later, at the start of the\n    third movement, the timpani line is unashamedly 'there'.\n\u003c\/p\u003e\n\u003cp\u003e\n    Yet if there is immediacy in the recording (and where it is well defined,\n    this is all gain) there is also a great deal of immediacy in the playing;\n    at the start of the finale, for instance, where Horenstein generates\n    sufficient tension to enable him to set up counter-tensions, allowing the\n    music to drive forward, yet insisting on the great downward thrusts of\n    sound, holding the lightning flashes in a proper rhythmic perspective. This\n    is one point where he scores over Bruno Walter on CBS Classics - Walter\n    reining the music too tightly at the start of the movement, giving it a\n    comparatively sedate forward motion. Such is Horenstein's grasp of the\n    structure of this movement that one can readily accept his very 'maestoso'\n    treatment of the very end, something very much in line with his passionate\n    but dedicated response to the music as a whole.\n\u003c\/p\u003e\n\u003cp\u003e\n    The thing about the playing is that there is never anything glib about it;\n    the oboe's wonderfully intense phrasing at Fig 42 of the last movement\n    creating considerable emotional tension at a crucial point of transition is\n    a small, but very typical, example of the control Horenstein seems to exert\n    over the orchestra at every point. And this is as true of the first\n    movement as of the last (first movement repeat carefully observed). I like,\n    too, the funeral march, sombre, laden with menace but with a kind of muted\n    nostalgia about the \u003cem\u003eLindenbaum\u003c\/em\u003e theme - Horenstein, like Walter,\n    very much 'inside' the idiom at this point - and the \u003cem\u003eLändler\u003c\/em\u003e which\n    drags along in exactly the right way, the pulse strong, the textures firm,\n    the rhythms strong and chunky.\n\u003c\/p\u003e\n\u003cp\u003e\n    In fact the performance as a whole commends itself. Like the Kubelik on\n    Decca's Eclipse label and the Walter, it is certainly echt-Mahler. Not as\n    'finely' played or as brilliantly recorded as the later Horenstein\/Unicorn\n    issue, of course, but well worth investigating if economy is the principal\n    factor.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eHenry Fogel, rec.music.classical, 24 November 1994\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    I am not embarrassed by attribution of a rave for Horenstein's Vox\n    recording... there is surely no question in my mind that it is one of the\n    handful of great interpretations of this piece on disc.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":12998682771517,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205544853838,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205544886606,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC542_947c0507-2f41-45ac-b521-18e8fcf3d513.jpg?v=1539079215"},{"product_id":"pasc542-cd","title":"HORENSTEIN Mahler: Symphony No. 1 (1953) - PASC542 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC542.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":12997925568573,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205544821070,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC542_3cdbb713-585b-4fc2-8f66-109c938b09e7.jpg?v=1658745662"},{"product_id":"pasc565","title":"HORENSTEIN conducts Mahler Symphony No. 3, Lieder (1954\/61) - PASC565","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eKindertotenlieder*\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eLieder eines fahrenden Gesellen*\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and *studio recordings, 1954* \u0026amp; 1961\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e2hr 10:39\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHelen Watts\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003e*Norman Foster\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eHighgate School Choir\u003cbr\u003eOrpington Junior Singers\u003cbr\u003eLondon Symphony Chorus\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e*Bamberg Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC565.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eAlthough a beautifully bound score of Mahler's Third Symphony found in Jascha Horenstein's library boasts a calligraphic dedication to him on his twenty-fifth birthday, 6 May 1923, the work appears to have entered his repertoire only in January 1953 when he gave its Italian premiere in Rome. Strangely and sadly, the Italian broadcaster RAI did not preserve the tapes from that occasion, which also included the world premiere of Alban Berg's Altenberg songs (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc445\"\u003ePASC 445\u003c\/a\u003e). Horenstein subsequently conducted the symphony twice in London, made a celebrated commercial recording for Unicorn in 1970 and performed it again in Turin, Italy, in December 1970. The present recording documents Horenstein's second performance of the symphony in November 1961, an occasion that is associated with several notable “firsts”: it was the first concert performance of Mahler's Third in the UK by a professional orchestra; it was the first time the London Symphony Orchestra played the work; it was the first time Helen Watts sang the solo part for which she later became famous, and it marked the first appearance of the celebrated Highgate School Choir on an international stage. \u003cbr\u003e\u003cbr\u003eThe performance, errors of execution notwithstanding, faithfully reproduces Horenstein's meticulously fashioned view of Mahler's longest symphony, with a strong sense of unity within each movement and through the work as a whole while maintaining the rich diversity of pace, rhythm, character and motif that Mahler poured into it. The interpretation is clearheaded and direct, climaxes are slow to build (a characteristic feature of Horenstein's Mahler) but absolute in their power and never leave one in doubt as to where and when the culminating points are reached. In this performance, probably due to the presence of an audience, Horenstein abandoned the somewhat reserved air that distinguished his Unicorn recording for a more forceful, propulsive approach of sustained and intense concentration and sweep, capturing some of those qualities that in the concert hall made him so absorbing and persuasive an interpreter.\u003cbr\u003e\u003cbr\u003eOf the two song cycles included on this disc, Horenstein's favorite by far was Kindertotenlieder, whose world premiere recording he conducted in Berlin in 1928 with soloist Heinrich Rehkemper. He subsequently performed it with, among others, Marian Anderson, Janet Baker and Fischer-Dieskau but only recorded it and the Wayfarer songs with baritone Norman Foster for Vox. Horenstein “found” Foster in Vienna while working on Bach's Brandenburg Concertos (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc468\"\u003ePASC 468\u003c\/a\u003e) and although he described him as “simply marvelous”, they never again collaborated following the present recordings. Possessor of a deep, rich, well-supported voice with good diction but a somewhat limited upper range, Foster delivers dark, vibrant performances of Mahler's two song cycles that also highlight many characteristic features of Horenstein’s style: clarity of texture, subtle rubatos and a seemingly effortless coordination of details within the larger musical form. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eJASCHA HORENSTEIN conducts MAHLER\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMAHLER  \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eKindertotenlieder\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e1. 1. Nun will die Sonn' so hell aufgeh'n   (5:37)\u003cbr\u003e2. 2. Nun seh' ich wohl, warum so dunkle Flammen  (4:45)\u003cbr\u003e3. 3. Wenn dein Mütterlein  (5:02)\u003cbr\u003e4. 4. Oft denk' ich, sie sind nur ausgegangen  (3:03)\u003cbr\u003e5. 5. In diesem Wetter  (6:55)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMAHLER  Lieder eines fahrenden Gesellen\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e6. 1. Wenn mein Schatz Hochzeit macht  (3:27)\u003cbr\u003e7. 2. Ging heut morgen übers Feld  (4:10)\u003cbr\u003e8. 3. Ich hab' ein glühend Messer  (3:03)\u003cbr\u003e9. 4. Die zwei blauen Augen von meinem Schatz  (5:06)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNorman Foster\u003c\/b\u003e (baritone)\u003cbr\u003e\u003cb\u003eBamberg Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Jascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eRecorded at Dominikanerbau, Bamberg, Germany, mid-September 1954\u003cbr\u003eEngineer: Ward Botsford\u003cbr\u003eOriginally released as VOX PL 9100\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMAHLER  Symphony No. 3\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eErste Abtheilung\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e10. 1st mvt. - Kräftig, Entschieden  (30:03)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eZweite Abtheilung\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e1. 2nd mvt. - Tempo di Minuetto  (8:41)\u003cbr\u003e2. 3rd mvt. - Comodo, Scherzando. Ohne Hast  (16:18)\u003cbr\u003e3. 4th mvt. - Sehr Langsam. Misterioso. Durchaus Leise  (8:46)\u003cbr\u003e4. 5th mvt. - Lustig im Tempo und keck im Ausdruck  (4:03)\u003cbr\u003e5. 6th mvt. - Langsam, Ruhevoll. Empfunden  (21:40)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHelen Watts\u003c\/b\u003e (contralto)\u003cbr\u003e\u003cb\u003eDennis Egan\u003c\/b\u003e (posthorn)\u003cbr\u003e\u003cb\u003eDenis Wick\u003c\/b\u003e (trombone)\u003cbr\u003e\u003cb\u003eHighgate School Choir, Orpington Junior Singers, London Symphony Chorus\u003cbr\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eRecorded live, Royal Festival Hall., London, 16 November 1961 \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by\u003cb\u003e Andrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eJascha Horenstein\u003c\/b\u003e by Photo Tornow, Lausanne from the archive of \u003cb\u003eMisha Horenstein\u003c\/b\u003e.\u003cbr\u003eSpecial thanks to \u003cb\u003eDr. Klaus Holzapfel\u003c\/b\u003e for copies of BBC Transciption discs of Symphony No. 3\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e2hr 10:39\u003c\/b\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\/PASC565.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC565.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fConcert Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eFine Account of Symphony: Mahler's Third at Festival Hall\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    The Times, 17 November 1961\n\u003c\/p\u003e\n\u003cp\u003e\n    At the beginning of this year, Mahler's third symphony had never been\n    performed in this country at a concert. In the last nine months it has had\n    two performances in London: the first, in February, was a brave, wholly\n    admirable but not wholly satisfying, semi-amateur one; last night this\n    long, extremely difficult and idiosyncratic work, a collation of everything\n    that Mahler burned to communicate, was at last performed by a major British\n    orchestra in the Festival Hall\n\u003c\/p\u003e\n\u003cp\u003e\n    The London Symphony Orchestra presented and played it under Mr. Jascha\n    Horenstein. who clearly knows and loves it from the inside of the music\n    outward, and who unfolded a deeply sympathetic conception with\n    extraordinarily moving power.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mr. Horenstein is a conductor, it seems, whose real quality is only\n    discerned when the mood fires him: and it does not always yield fire.\n    Mahler, on the evidence, strikes the spark for him more regularly than any\n    other composer. This was certainly the most convincingly-felt reading that\n    we have heard from him during his present visit, and his earlier work with\n    the London Symphony Orchestra had established a responsiveness that\n    realized the spirit as well as the letter of his, and Mahler's demands.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mahler's music is so precariously poised on the verge of articulate speech\n    that a performing style, in which anguished cantabile and wild, terse\n    outbursts and cheerful (sometimes not so cheerful) folk tunes cohere\n    instead of contradicting one another, is not quickly achieved. The L.S.O.\n    seems to be finding such a style, partly through experience under stylish\n    Mahler conductors, partly through knowledge of the music from which\n    Mahler's descends.\n\u003c\/p\u003e\n\u003cp\u003e\n    The flora and fauna of the intermezzi were delightfully characterized, with\n    smart rhythmical articulation, but there was also the essential depth and\n    intensity of sound for the heavenward-turned final Adagio.\n\u003c\/p\u003e\n\u003cp\u003e\n    If Mr. Horenstein's reading was at any point to be questioned it could be\n    in the enormous opening movement: not because the introduction was taken at\n    a brisk tempo—this was structurally advantageous—but because the climax of\n    the development was reined too heavily for the eventual return of the\n    opening horn-call which should follow more spontaneously than it did here.\n    Over the span of the whole symphony this blemish seems to have been a minor\n    one. Mr. Horenstein, and his forces which included Miss Helen Watts in\n    appealing voice, the Highgate School Choir and Orpington Junior Singers, as\n    well as ladies from the L.S.O. Chorus, spoke eloquently for Mahler.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHistoric Record Reviews578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003eREVIEWS OF 2014 RELEASE ON ARCHIPEL RECORDS OF MAHLER SYMPHONY NO. 3\u003cbr\u003e(The Mahler was coupled with Brahms for that particular release - these reviews are unedited)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSometimes you come to appreciate some of the conducting legends of the past\n    when you have first listened to one of the conducting duds of the present,\n    and that was my experience with this Mahler Third. I had just suffered\n    (yes, I believe that is the precise word) through Carla Delfrate butchering\n    the music of French opera composers when I put on this Mahler Third. The\n    difference in musical intelligence, feeling, phrasing, rhythmic lift, and\n    correctly judged tempos was like escaping the River Styx and being elevated\n    to Valhalla.\n\u003c\/p\u003e\n\u003cp\u003e\n    Yet even without such a quantum leap in conducting quality, one cannot\n    escape the feeling that this Mahler Third was indeed one of the great, even\n    momentous, concerts of the 20th century. Shockingly for such a late date,\n    this was its first professional performance in England, and those familiar\n    with Horenstein’s work will know that the British were extremely lucky to\n    have him for this concert. Just about the only negative thing one can note\n    about this recording is the somewhat dry mono sound—good for a 1961\n    broadcast (indeed, better than Horenstein’s equally legendary Mahler\n    Eighth) but still restricted in sonics. But heavens, what a performance! I\n    actually think that Horenstein’s performance of the first movement even\n    outstrips that of Georg Solti, which up until now was my all-time favorite\n    reading of it, largely due to the more finely detailed layering of the\n    instrumental texture. Despite the boxiness, you hear everything, and every\n    instrument or instrumental group seems to have something important to add\n    to the overall “story” of the music. Nor was I alone in my reaction: At the\n    end of the movement, the London audience does something highly\n    uncharacteristic for the British at an orchestral concert: they roundly\n    applaud the first movement. It’s quite an achievement, and it seems almost\n    incredible that this is its first-ever commercial release.\n\u003c\/p\u003e\n\u003cp\u003e\n    Moreover, unlike Solti (and even unlike his Nonesuch studio recording of\n    this Symphony with the same orchestra), Horenstein’s intensity and musical\n    drive never slacken in this performance, not even for a millisecond. Seldom\n    have I heard the second movement played so exquisitely, the strings singing\n    sweetly and the rhythmic underpinning simply astonishing. Many years ago,\n    before I began reviewing, I bought, heard, and was disappointed by James\n    Levine’s Mahler Third recording, and I was only slightly more impressed by\n    a live performance he gave with Jessye Norman as the mezzo soloist in\n    Carnegie Hall. I couldn’t put my finger on what was wrong with it, but this\n    Horenstein performance has everything right about it that Levine simply got\n    wrong. Perhaps too much “devotion,” too much psychoanalyzing Mahler at the\n    time he wrote it, and too little of just digging into the score and\n    translating it into sound? It’s hard to say at the remove of 40 years, but\n    let’s just say that Horenstein has the full measure of this Symphony while\n    Levine only had a fair idea of it.\n\u003c\/p\u003e\n\u003cp\u003e\n    Now, one should be aware that Horenstein’s view of the score is not always\n    100 percent what Mahler wrote. He sometimes ignores tempo changes and gives\n    his own spin on the music, but to my ears everything he does in this\n    performance works well. Not to keep beating the same drum, but that first\n    movement is an excellent example. In the studio recording, it went along at\n    an almost dirge-like pace; here, it is utterly dynamic and thrilling. In\n    both the studio and live versions, the posthorn solo is beautifully played\n    by Dennis Egan, and this is one moment in this broadcast where the sonics\n    are good enough to give the listener a fine sense of “space.” Helen Watts’s\n    singing is rich and beautiful, although not quite as expressive in detail\n    as Janet Baker with Michael Tilson Thomas (Sony-CBS) or Ewa Podleś with\n    Antoni Wit (Naxos), my other two favorite Mahler Thirds. The Highgate\n    School Choir is superb, having that sound that one somehow instinctively\n    associates with British children’s choirs. Horenstein’s tempo in the last\n    movement is brisk when compared to other Mahlerians (21:13 compared to\n    Tilson Thomas’s 26:13 or Wit’s 25:31), which some listeners may interpret\n    as a race to the finish on Horenstein’s part, but just listen to the\n    feeling he elicits from the LSO; and, at this clip, the movement lacks its\n    usual “draggy” feeling, as if it were an interminable exercise in bathos.\n    Now, of course, it can and does also work well at the slower tempos that\n    Tilson Thomas and Wit use, but that is the magic of Mahler. His symphonies,\n    unlike almost any others I can think of, can withstand nearly any and every\n    tempo change one can put into them. The only thing they cannot withstand is\n    a boring reading, and boring is not a word one can apply to this\n    performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    As a bonus (since the entire Third Symphony clocks in at a few seconds\n    under 90 minutes) we age given an equally spectacular reading of the Brahms\n    Piano Concerto No. 1 with Claudio Arrau as soloist. My readers know that I\n    like but do not really love Arrau as a pianist; everything he played was\n    good and usually had the right style, but many of his performances and\n    recordings are no better than those of several other pianists. Here,\n    however, he truly sounds caught up in the moment, not least due to\n    Horenstein’s exquisite shaping and phrasing of the music. Although I still\n    love Fritz Reiner’s dynamic 1954 account with Rubinstein and Max Fiedler’s\n    old-world and slightly eccentric (but still musical) performance from the\n    early 1930s (with Alfred Hoehn as soloist), there is just something so\n    shapely and well-phrased about Horenstein’s reading of the orchestral part\n    that it grabs your attention and doesn’t let go. Arrau takes a while to\n    heat up—his entrance is played very well but not with any particular\n    abandon, but then just listen to the way he responds with both remarkable\n    fire and stunning nuance to the equally nuanced playing of the French Radio\n    and TV Orchestra. The best way to describe this performance, overall, is as\n    an alternation of a singing line with ebb and flow against the dramatic\n    outbursts, the latter never dull but also never so explosive that they ruin\n    the line of the music. Oh, there are many of those among our young\n    conductors today who could learn a thing or three from Horenstein about\n    phrasing! True, the strings in the last movement sound a little scrappy,\n    but no matter. The musical treatment and intensity of this performance\n    trumps technical polish.\n\u003c\/p\u003e\n\u003cp\u003e\n    Archipel provides absolutely no liner notes with this release, not even a\n    sentence or two to tell prospective buyers who Jascha Horenstein was. Even\n    though I know that a recording like this is aimed at the collectors’\n    market, that very few people will bother with a 53-year-old mono recording\n    of the Mahler Third when they can get digital stereo from Tilson Thomas,\n    Wit, or the late Claudio Abbado (another outstanding version), but I still\n    feel that the label owes it to those few who are under age 30 and buy this\n    release to let them know who Horenstein was and explain his importance.\n    Otherwise, I recommend this set highly.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eLynn René Bayley (Fanfare Magazine 37:5, May\/June 2014)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Jascha Horenstein, one of the great conductors of the 20th century, was\n    unaccountably neglected by the major record labels. Most of his studio\n    recordings appeared on the Vox label. RCA recorded a few Horenstein\n    performances to be issued by Readers’ Digest Records, and in his last years\n    he made some recordings for the small British Unicorn label. Fortunately,\n    his discography has been augmented by the release on CD of many concert\n    performances, and any addition to this treasure trove is cause for\n    celebration, especially if it is of the quality of this 1961 performance of\n    Mahler’s Third Symphony. Horenstein was especially renowned as a Mahler\n    interpreter, and this release certainly makes clear why that was. Separated\n    from his fine 1970 studio recording for Unicorn by a substantial period of\n    time, it is consistently quicker than the later performance but never\n    rushed, and it is superbly articulated and shaped. (For more detailed\n    information on the performance, I refer readers to Lynn René Bayley’s rave\n    review in Fanfare 37:5.) The set includes as a bonus a performance of the\n    Brahms Piano Concerto No. 1 with none other than Claudio Arrau as soloist\n    (what a bonus!). In a way, this performance is even more valuable than the\n    Mahler, since the concerto does not otherwise appear in Horenstein’s\n    discography. The Archipel label specializes in historical recordings and\n    puts them out by the bushel, for low prices but often with slipshod\n    processing. This release is an exception, with sound that is very good for\n    early 1960s broadcast material that presumably does not derive directly\n    from the radio archives. The sound is clear and reasonably well balanced,\n    without the sharply peaked treble that has disfigured some other Archipel\n    releases.\n\u003c\/p\u003e\n\u003cp\u003e\n    This CD preserves a “never before released” live recording of the first\n    professional British performance of Mahler’s Third Symphony in 1961. It was\n    given under the baton of Jascha Horenstein, who did much to spearhead the\n    revival of the composer’s music during the 1960s. In 1970, three years\n    before his death, Horenstein returned to the score for a famous studio\n    recording of the same work with the same orchestra as here. That version on\n    Unicorn remained as one of the principal recommendations both on LP and CD\n    for many years.\n\u003c\/p\u003e\n\u003cp\u003e\n    This live performance does not get off to a very promising start, with a\n    fluffed note from one of the horns on the very opening beat, and it cannot\n    be pretended that the sound is anything like as good as on Horenstein’s\n    studio recording, with the low brass at 1.02 growling rather indistinctly.\n    That said, the internal balance of the orchestra is good, and they deliver\n    the music with the real joy of players discovering a new and unfamiliar\n    score. The CD insert — it would be unduly charitable to call it a booklet —\n    gives no information at all regarding either the music or its performance,\n    but the acoustics are rather dry and leads one to deduce that the venue was\n    the Royal Festival Hall; the 1970 recording was made in Fairfield Halls.\n    The solo violin at 4.45 is placed very forward in the mono sound, which\n    leads me to suspect close microphone placement presumably originating from\n    a broadcast source. Dennis — spelt Denis on the CD cover credit — Wick’s\n    trombone solo at 5.55 is very stentorian; the same player was more nuanced\n    in 1970. Later on the internal balance of the orchestra becomes less than\n    ideal, with the chirruping and squawking woodwind at 20.00 badly masked by\n    the brass and what sounds suspiciously like panic-stricken recording\n    engineers reducing recording levels. Unexpectedly the audience bursts in\n    with applause at the end of the movement; maybe at the original concert the\n    interval was taken at this point.\n\u003c\/p\u003e\n\u003cp\u003e\n    The second movement, with its much lighter scoring, produces fewer problems\n    for the engineers. In the third movement Mahler wrote an extensive solo for\n    an offstage brass instrument which he originally designated for the\n    flugelhorn. In later revisions he changed the description of the instrument\n    to “posthorn”, but this seems to have been a purely poetic change of title\n    and the part is invariably played on the flugelhorn – as in Horenstein’s\n    1970 recording – although on the CD cover it is stated that Dennis Egan\n    plays a posthorn. The balance between the offstage instrument and the\n    onstage players is not ideal, but it does not appear that Egan manages all\n    the notes with total accuracy, and there is a horrible trumpet error at\n    15.43 which sticks out like a sore thumb. Horenstein makes no pause before\n    the fourth movement — the audience coughing between the second and third\n    movements is given full measure — but the entry of Helen Watts is sheer\n    balm. She recorded the part again in the studio for Solti some years later,\n    in what is otherwise an unpleasantly blatant reading; Solti re-made the\n    work for his complete Chicago cycle. Here in the very earliest days of her\n    notable career she is firm as a rock and as implacable as granite in her\n    declamation of Nietzsche’s Midnight Song from Zarathustra. And thankfully\n    Horenstein has no truck with the exaggerated portamento in the woodwind\n    phrases which Mahler may possibly have intended to imitate the wood birds\n    of the night but which sound horribly and inauthentically modern in other\n    performances. The orchestral deep brass sound murkier than might be ideal,\n    and there are a couple of horn notes that are not perfectly steady; but\n    this are minor blemishes in an enchanting performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    Unfortunately there is a CD break between the fourth and fifth movements —\n    Mahler asks that they should be played continuously — but this does avoid\n    the sudden interruption in mood which would otherwise have been perpetrated\n    by the very loud and forwardly-placed bells at the beginning of the Knaben\n    Wunderhorn song. The choirs on the other hand are rather backward and far\n    from distinct – although noticeably below pitch at 1.49 – but Watts is once\n    again a tower of strength. This is a difficult movement to bring off in\n    performance, and it is at this point in the recording that one is aware of\n    a lack of familiarity with the score. The solemn entry of the strings at\n    the beginning of the last movement brings a real sense of engagement even\n    though the violin tone could be warmer. It is nice to hear the period style\n    in the use of string portamento as specified by Mahler, an effect which\n    became unfashionable for a time but is an essential part of the composer’s\n    sense of line. Horenstein sometimes presses forward in a manner which he\n    avoided in his later recording, but not beyond the bounds of acceptability;\n    and although another trumpet glitch in the chorale theme at 16.09 is most\n    unfortunate, Horenstein generates a real sense of white heat in the closing\n    pages. The audience cheers at the end are well deserved.\n\u003c\/p\u003e\n\u003cp\u003e\n    Horenstein does not appear to have changed his view of the score much over\n    the years; comparisons of timings in the movements show the first three\n    rather slower on Unicorn nine years later, while the last three are\n    slightly quicker. Overall he took some seven minutes longer over the score\n    in 1970, a fairly minimal difference in a work of this length. Those who\n    want to hear his interpretation of Mahler’s Third Symphony will gravitate\n    towards the better sound and less accident-prone playing in 1970. But they\n    will have to sacrifice Watts’s singing of the alto solos, richer and more\n    nuanced than Norma Procter on Unicorn. On the other hand the singing in\n    1970 of the Wandsworth School Boys’ Choir and the Ambrosian Singers in the\n    fifth movement is more assured and better balanced than the assembled\n    choral forces were in 1961.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Unicorn issue however comes without any coupling spread over two CDs,\n    while here we are also given a very substantial bonus in the shape of\n    Claudio Arrau’s performance of the Brahms First Piano Concerto again with\n    Horenstein conducting. Although the reading has plenty of fire from the\n    opening bars, the recorded sound is much less satisfactory than in the\n    Mahler with the orchestral playing decidedly thin in places, and the\n    acoustic is unpleasantly boxy in the tutti passages. Recording engineers in\n    the studio were getting much better results at this period. Mercifully\n    Arrau is not placed too forward in the recorded balance, and we get a good\n    impression of the sound of his piano. At this stage in his career Arrau was\n    a more volatile and less monumental player than he became in his later\n    years, and he forms a dramatic partner for Horenstein who – as in his\n    contemporary recordings with Earl Wild of the Rachmaninov concertos – is a\n    sympathetic accompanist. But the horn in the first movement at 9.31 is a\n    particularly bad example of the weak and watery tone of French instruments\n    at this period, sounding for all the world like a tremulous saxophone. If\n    you like this sort of ‘national’ style of playing, you’ll love it; although\n    you may be less impressed with the squeeze-box effect of the woodwind at\n    the beginning of the slow movement. This was clearly a very great\n    performance indeed, with which one is delighted to make acquaintance; but\n    the orchestra and the recorded sound do rather let the side down.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003e\u003cspan class=\"_5yl5\"\u003e\u003cspan\u003ePaul Corfield Godfrey, Musicweb International, July 2014\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":28543587057725,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205540102478,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205540135246,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC565.jpg?v=1558365979"},{"product_id":"pasc565-cd","title":"HORENSTEIN conducts Mahler Symphony No. 3, Lieder (1954\/61) - PASC565 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC565.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":28543507726397,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205540069710,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC565_18729d5b-c485-457b-9df9-9c9083379e92.jpg?v=1658746246"},{"product_id":"pasc567","title":"HORENSTEIN conducts Mahler Symphony No. 5 (1958) - PASC567","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003ePreviously unissued BBC studio recording, 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:55\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Jascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC567.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe circumstances under which this recording was made are worth retelling. Between November 1957 and August 1958 George Mendelssohn of Vox Records was negotiating with the London Symphony Orchestra for a series of studio recordings with Horenstein, to be synchronized with concert appearances featuring the same works. In June 1958, as a result of these discussions, the LSO engaged Horenstein for two concerts, a performance of Mahler 5 in Leeds on Nov. 1st and another appearance in London on Nov. 9th featuring works by Bartók, Prokofiev and Berlioz. However by the end of August 1958, after equivocating for months, Mendelssohn had already pulled out of both projects leaving the LSO, at that time in dire financial straits, with no recordings and stuck with two concerts they could not afford nor wanted to promote alone. Following Mendelssohn's exit, repertoire and soloists were rapidly changed for Horenstein's Nov. 9th concert, but the Mahler symphony was kept in the program for Nov. 1st after the BBC, on the initiative of Robert Simpson, stepped into the time slots previously reserved for Vox. Following five rehearsals, the first for strings only, Mahler 5 was recorded by the BBC at a single session during the afternoon of 30th October 1958 and documents the first-ever LSO performance of the work. The recording of what was essentially a dress-rehearsal was followed by the concert in Leeds two days later, the orchestra's first public performance of the symphony (not broadcast or recorded) that attracted an enthusiastic crowd and favorable reviews. “At the end”, a surprised Horenstein told Deryck Cooke, “the large audience acclaimed it as though it were some accepted masterpiece”, which at that time was clearly not the case.\u003cbr\u003e\u003cbr\u003eMendelssohn's withdrawal from the project exacerbated an already strained relationship with Horenstein who some months later categorically refused to work with him or with Vox Records ever again, but there was another player in this saga: Everest Records. In August 1958 Everest began making a series of commercial recordings with the LSO that initially featured Walter Susskind and Eugene Goossens conducting contemporary music. Then in September the LSO's manager John Cruft wrote to Everest with more repertoire and conductor suggestions including, among others, a recording of Mahler's Fifth with Rudolf Schwarz. In his letter Cruft did not mention Horenstein, already one of the LSO's regular guest conductors and about to tackle the Fifth (and later the Eighth) with the orchestra. Whether this omission was accidental or deliberate is unknown, but, according to the LSO's official discography, Everest's recording of the Fifth Symphony with Schwarz, the orchestra's first commercial recording of any music by Mahler, was made on 10-11 Nov. 1958, just ten days after Horenstein rehearsed, recorded and performed it with the same orchestra in London and Leeds! Free from his obligations to Vox Records by the end of August 1958, there were no contractual issues nor any prior engagements to prevent him from accepting the Everest recording job had it been offered. Why the LSO and Everest chose Schwarz for their recording, fine effort though it is, remains a mystery, to be classified as another example of Horenstein's unfortunate career as a recording artist. Published here for the first time in any form and the first of three preserved recordings of Mahler's Fifth under his direction, this version, taken from its lone broadcast in June 1960, goes some way towards redressing that injustice.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eHORENSTEIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003econducts Mahler: Symphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003ePreviously unissued recording\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. BBC RADIO  Introduction  (1:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eMAHLER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003ePART I\u003c\/b\u003e\u003cbr\u003e2. 1st mvt. - Trauermarsch  (12:41)\u003cbr\u003e3. 2nd mvt. - Stürmisch bewegt, mit größter Vehemenz  (16:06)\u003cbr\u003e\u003cb\u003ePART II\u003c\/b\u003e\u003cbr\u003e4. 3rd mvt. - Scherzo  (19:49)\u003cbr\u003e5. 4th mvt. - Adagietto  (9:54)\u003cbr\u003e\u003cb\u003ePART III\u003c\/b\u003e\u003cbr\u003e6. 5th mvt. - Rondo-Finale  (16:51)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra \u003c\/b\u003e\u003cbr\u003eSolo Horn: \u003cb\u003eBarry Tuckwell\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein\u003cbr\u003eRecording from the archive of Misha Horenstein\u003cbr\u003e\u003cbr\u003eRecorded 30 October, 1958\u003cbr\u003eBBC Maida Vale Studio 1, London\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:55    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC567.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC567.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fContemporary live review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eNB.The present studio recording of 30 October 1958 preceded an unrecorded concert performance with the LSO two days later, on 1 November. This is a review of that performance:\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003c\/span\u003eA GREAT MAHLERIAN: Excellent performance of 5th Symphony\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eERNEST BRADBURY, Yorkshire Post, Nov 3 1958\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    DR. JASCHA HORENSTEIN, who opened the Leeds Festival three weeks ago\n    returned to the Town Hall on Saturday night to conduct the London Symphony\n    Orchestra in Mahler's 5th Symphony. This time there was no suggestion of\n    diffidence, no thought of his filling the breach in the absence of another\n    conductor. Horenstein is a great Mahlerian: the symphony had been\n    exhaustively rehearsed in London for another purpose beside the performance\n    in Leeds, and the large audience (the \" House Full \" notices were up long\n    before the concert began) was thus authoritatively initiated into a new\n    musical experience.\n\u003c\/p\u003e\n\u003cp\u003e\n    When the Hallé Orchestra bring Mahler's vast 2nd symphony to Leeds next\n    March we shall have enjoyed a notable Mahler season in this city: but since\n    the 2nd symphony has an unmistakable programme, and a choral section,\n    listeners may not experience the bewilderment that settled on some of them\n    when hearing the 5th. At the first pause, which divides the separate parts\n    of the 5th Symphony's opening section, many programme pages were turned on\n    Saturday by people who thought the first movement must have ended: the idea\n    of an opening funeral march extended over 15 minutes had plainly not\n    occurred to them; they were clearly not accustomed to Mahler's huge\n    architectural opus, nor at all adjusted to his enormous time scale.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eDisruptive elements\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Another source of puzzlement seemed to be Mahler's actual thematic\n    material—or lack of it, as somebody said. Lengthy themes entail lengthy\n    developments: so much we know from Elgar. But what when, apparently. there\n    are no themes, or rather a multitude of fragmentary ideas that stop and\n    start, break off and renew themselves, or suddenly change places with each\n    other in arbitrary fashion? These seemingly disruptive elements in Mahler's\n    style do indeed show a layout of exposition, development, recapitulation,\n    but it is not that of Beethoven or Schubert, and the listener not prepared\n    to enter into the style and spirit of Mahler, to see this revealed heart of\n    the composer, in the wider sense as related to nerve, muscle, body, head\n    and mind of Mahler, is never likely to understand him.\n\u003c\/p\u003e\n\u003cp\u003e\n    On the surface of the text of course appreciation was keen enough; there is\n    enough of melody, of orchestral excitement, of deliberate polyphony, to\n    keep listeners attentive at almost any level, and the great ovation given\n    both to conductor and orchestra at the end of the 80-minute work itself\n    proclaimed the effectiveness of the Mahlerian magic.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eAbsolute fidelity\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Horenstein's understanding of the music was certainly excellent. He did\n    not, in fact, break up the work into meaningless fragments, but joined each\n    to each in a continuing flow of musical interest, imparting life and breath\n    to the score in its many transitions of mood and temper, ministering to\n    Mahler's fussy requirements with absolute fidelity (even to the \"long\n    pause\" between the movements) and drawing from the LSO playing of the\n    utmost clarity and distinction, lovely in phrase and gorgeous in gesture,\n    or snarlingly abrupt in the more stinging sections.\n\u003c\/p\u003e\n\u003cp\u003e\n    The fragile Adagietto was played with infinite tenderness and Mr. Barry\n    Tuckwell's horn solos in the trio fell on the ear with a golden splendour.\n    Without haste, without any kind of pose or self-conscious emphasis,\n    Horenstein built up the symphony as the intensely spiritual thing it is,\n    from its Faustian opening to the last brassy glories of its finale, and by\n    so doing impressed us by his own art as well as by Mahler's. We hope he\n    will come to Leeds again, with one of the other less-known Mahler\n    symphonies.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":29208171970621,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205539479886,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205539512654,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC567.jpg?v=1561123297"},{"product_id":"pasc567-cd","title":"HORENSTEIN conducts Mahler Symphony No. 5 (1958) - PASC567 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":29155205546045,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205539447118,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC567_edbb7e30-6742-4cb4-a77a-4ccc3ab5c6f7.jpg?v=1658746280"},{"product_id":"pasc613","title":"HORENSTEIN in Gothenburg Vol. 2: Mahler Symphony No. 5 (1969) - PASC613","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eMAHLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 13px;\"\u003eLive concert recording, 1969\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 13px;\"\u003eTotal duration: 75:17\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGothenburg Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC613.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis release is the second in a series published by Pristine Classical chronicling the concerts conducted by Jascha Horenstein during his visits to the Swedish city of Gothenburg in the late 1960s. On all three occasions, first in January 1968, then in December of that year and finally in October 1969, Horenstein was asked to conduct works that would challenge the recently expanded Gothenburg Symphony Orchestra and its newly engaged personnel, particularly in the brass section. It was for this reason that his program choices settled on Mahler’s 4th, followed by Bruckner’s 6th, Schubert’s 9th and finally Mahler’s 5th symphonies, good tests of the orchestra’s mettle and its ability to handle large-scale romantic music. These were performed in four carefully selected and attractively constructed programs that also included works by Bach, Handel, Mozart, Liszt and Saint-Saëns, all of which were recorded in-house and will be remastered for publication on this label. The present recording reproduces the last of the four Gothenburg programs conducted by Horenstein, an evening that opened with a gripping performance of Liszt’s symphonic poem Mazeppa, aptly programmed as a warm-up piece for the Mahler symphony that will be published separately.\u003cbr\u003e\u003cbr\u003eThis recording of Mahler’s Fifth, documenting the last of many occasions that Horenstein conducted the work, is the third under his direction to be published on this label following those with the Berlin Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc416\" target=\"_blank\"\u003ePASC 416\u003c\/a\u003e) and the London Symphony Orchestra (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc567\" target=\"_blank\"\u003ePASC 567\u003c\/a\u003e). The tough and tensile Gothenburg Mahler 5, not in the orchestra’s repertoire at that time, stands somewhere between the former’s  \"barbaric Mahler, struggling with and howling at God\", and the latter’s lucid, carefully pointed, carefully controlled reading. In all three performances the spacious formal outlines are clearly and firmly profiled, with the symphony’s multitudinous details kept coherent, proportional and in context.  All three performances also emphasize the strong fibers in the music while underplaying its softer centers, with Mahler’s expressionist roots clearly recognizable. The Gothenburg Symphony Orchestra, which had not played the work since the 1940s, responds to Horenstein’s demands with great feeling, sensitivity and dedication if not with the greatest executive refinement or precision, while the performance itself, with many felicitous details revealed, is another fine example of his unique capacity for getting the most out of his players in a short period of time. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003ePART I\u003c\/b\u003e\u003cbr\u003e1. 1st mvt. - Trauermarsch  (13:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePART II\u003c\/b\u003e\u003cbr\u003e2. 2nd mvt. - Stürmisch bewegt, mit größter Vehemenz  (16:16)\u003cbr\u003e3. 3rd mvt. - Scherzo  (18:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePART III\u003c\/b\u003e\u003cbr\u003e4. 4th mvt. - Adagietto  (10:29)\u003cbr\u003e5. 5th mvt. - Rondo-Finale   (16:44)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eGothenburg Symphony Orchestra    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive concert recording, Gothenburg Concert Hall, Sweden, 16 October 1969 from the Misha Horenstein Archive. \u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein from the collection of Misha Horenstein\u003cbr\u003e\u003cbr\u003eTotal duration:  75:17    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC613.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC613.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32917806710845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205530337614,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205530370382,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC613_13509efa-c867-4af9-b7b4-ee8a6f3bbdea.jpg?v=1603433705"},{"product_id":"pasc613-cd","title":"HORENSTEIN in Gothenburg Vol. 2: Mahler Symphony No. 5 (1969) - PASC613 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC613.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":32917784657981,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205530304846,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC613_ca1c362f-b1d6-4c54-9e12-f04d146975fb.jpg?v=1658751087"},{"product_id":"pabx031","title":"HORENSTEIN Mahler Symphony No. 5: The Three Recordings (1958, 1961, 1969) - PABX031","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eMAHLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 5 - Three Recordings\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eThree live and studio recordings, 1958-1969\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 13px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBerlin Philharmonic Orchestra, 1961\u003c\/span\u003e\u003c\/b\u003e (live)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 13px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e, 1958 \u003c\/b\u003e(studio)\u003cb\u003e\u003cbr\u003eGothenburg Symphony Orchestra, 1969 \u003c\/b\u003e(live)\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC416.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\"\u003eHORENSTEIN Mahler: Symphony No. 5 (1961) - PASC416\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\u003eJascha Horenstein in electrifying form in this 1961 Mahler 5th with the Berlin Philharmonic\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eElusive recording finally transferred and XR remastered from off-air broadcast recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eI was contacted earlier this year by Misha Horenstein, cousin of the \ngreat conductor, with the idea of remastering and releasing rare and \nspecial recordings from the Maestro's career. The Mahler Fifth was the \nmost notable gap in Horenstein's extensive recorded legacy and this \noff-air recording of a blazing Edinburgh Festival concert with the \nBerlin Philharmonic was regarded as by far the most promising place to \nstart a new Horenstein series at Pristine.\u003c\/p\u003e\n\u003cp\u003eI've pulled out all the stops to try and bring out as much of the \npassion and brilliance of the performance as remains in the recording, \nwhilst eliminating or reducing crosstalk, interference, a good deal of \nhiss, swish and other defects. A very short sequence towards the end of \nthe piece was missing from the original source, and here we've patched \nin one of the other Horenstein recordings, matched as closely as \npossible to this in order to maintain the musical flow.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN conducts Mahler Symphony No. 5 (1958) - PASC567\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003eThe circumstances under which this recording was made are worth retelling. Between November 1957 and August 1958 George Mendelssohn of Vox Records was negotiating with the London Symphony Orchestra for a series of studio recordings with Horenstein, to be synchronized with concert appearances featuring the same works. In June 1958, as a result of these discussions, the LSO engaged Horenstein for two concerts, a performance of Mahler 5 in Leeds on Nov. 1st and another appearance in London on Nov. 9th featuring works by Bartók, Prokofiev and Berlioz. However by the end of August 1958, after equivocating for months, Mendelssohn had already pulled out of both projects leaving the LSO, at that time in dire financial straits, with no recordings and stuck with two concerts they could not afford nor wanted to promote alone. Following Mendelssohn's exit, repertoire and soloists were rapidly changed for Horenstein's Nov. 9th concert, but the Mahler symphony was kept in the program for Nov. 1st after the BBC, on the initiative of Robert Simpson, stepped into the time slots previously reserved for Vox. Following five rehearsals, the first for strings only, Mahler 5 was recorded by the BBC at a single session during the afternoon of 30th October 1958 and documents the first-ever LSO performance of the work. The recording of what was essentially a dress-rehearsal was followed by the concert in Leeds two days later, the orchestra's first public performance of the symphony (not broadcast or recorded) that attracted an enthusiastic crowd and favorable reviews. “At the end”, a surprised Horenstein told Deryck Cooke, “the large audience acclaimed it as though it were some accepted masterpiece”, which at that time was clearly not the case.\u003cbr\u003e\u003cbr\u003eMendelssohn's withdrawal from the project exacerbated an already strained relationship with Horenstein who some months later categorically refused to work with him or with Vox Records ever again, but there was another player in this saga: Everest Records. In August 1958 Everest began making a series of commercial recordings with the LSO that initially featured Walter Susskind and Eugene Goossens conducting contemporary music. Then in September the LSO's manager John Cruft wrote to Everest with more repertoire and conductor suggestions including, among others, a recording of Mahler's Fifth with Rudolf Schwarz. In his letter Cruft did not mention Horenstein, already one of the LSO's regular guest conductors and about to tackle the Fifth (and later the Eighth) with the orchestra. Whether this omission was accidental or deliberate is unknown, but, according to the LSO's official discography, Everest's recording of the Fifth Symphony with Schwarz, the orchestra's first commercial recording of any music by Mahler, was made on 10-11 Nov. 1958, just ten days after Horenstein rehearsed, recorded and performed it with the same orchestra in London and Leeds! Free from his obligations to Vox Records by the end of August 1958, there were no contractual issues nor any prior engagements to prevent him from accepting the Everest recording job had it been offered. Why the LSO and Everest chose Schwarz for their recording, fine effort though it is, remains a mystery, to be classified as another example of Horenstein's unfortunate career as a recording artist. Published here for the first time in any form and the first of three preserved recordings of Mahler's Fifth under his direction, this version, taken from its lone broadcast in June 1960, goes some way towards redressing that injustice.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 2: Mahler Symphony No. 5 (1969) - PASC613\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003eThis release is the second in a series published by Pristine Classical chronicling the concerts conducted by Jascha Horenstein during his visits to the Swedish city of Gothenburg in the late 1960s. On all three occasions, first in January 1968, then in December of that year and finally in October 1969, Horenstein was asked to conduct works that would challenge the recently expanded Gothenburg Symphony Orchestra and its newly engaged personnel, particularly in the brass section. It was for this reason that his program choices settled on Mahler’s 4th, followed by Bruckner’s 6th, Schubert’s 9th and finally Mahler’s 5th symphonies, good tests of the orchestra’s mettle and its ability to handle large-scale romantic music. These were performed in four carefully selected and attractively constructed programs that also included works by Bach, Handel, Mozart, Liszt and Saint-Saëns, all of which were recorded in-house and will be remastered for publication on this label. The present recording reproduces the last of the four Gothenburg programs conducted by Horenstein, an evening that opened with a gripping performance of Liszt’s symphonic poem Mazeppa, aptly programmed as a warm-up piece for the Mahler symphony that will be published separately.\u003cbr\u003e\u003cbr\u003eThis recording of Mahler’s Fifth, documenting the last of many occasions that Horenstein conducted the work, is the third under his direction to be published on this label following those with the Berlin Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc416\" target=\"_blank\"\u003ePASC 416\u003c\/a\u003e) and the London Symphony Orchestra (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc567\" target=\"_blank\"\u003ePASC 567\u003c\/a\u003e). The tough and tensile Gothenburg Mahler 5, not in the orchestra’s repertoire at that time, stands somewhere between the former’s  \"barbaric Mahler, struggling with and howling at God\", and the latter’s lucid, carefully pointed, carefully controlled reading. In all three performances the spacious formal outlines are clearly and firmly profiled, with the symphony’s multitudinous details kept coherent, proportional and in context.  All three performances also emphasize the strong fibers in the music while underplaying its softer centers, with Mahler’s expressionist roots clearly recognizable. The Gothenburg Symphony Orchestra, which had not played the work since the 1940s, responds to Horenstein’s demands with great feeling, sensitivity and dedication if not with the greatest executive refinement or precision, while the performance itself, with many felicitous details revealed, is another fine example of his unique capacity for getting the most out of his players in a short period of time. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\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\"\u003eHORENSTEIN Mahler: Symphony No. 5 (1961) - PASC416\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 5\u003cem\u003e\u003c\/em\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eRecorded Edinburgh Festival, 31 August, 1961\u003cbr\u003eUsher Hall, Edinburgh, Scotland\u003cbr\u003eLive broadcast recording \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e - conductor\u003c\/p\u003e\n\u003cp\u003e\n\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\"\u003eHORENSTEIN conducts Mahler Symphony No. 5 (1958) - PASC567\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eHORENSTEIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003econducts Mahler: Symphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003ePreviously unissued recording\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. BBC RADIO  Introduction  (1:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eMAHLER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003ePART I\u003c\/b\u003e\u003cbr\u003e2. 1st mvt. - Trauermarsch  (12:41)\u003cbr\u003e3. 2nd mvt. - Stürmisch bewegt, mit größter Vehemenz  (16:06)\u003cbr\u003e\u003cb\u003ePART II\u003c\/b\u003e\u003cbr\u003e4. 3rd mvt. - Scherzo  (19:49)\u003cbr\u003e5. 4th mvt. - Adagietto  (9:54)\u003cbr\u003e\u003cb\u003ePART III\u003c\/b\u003e\u003cbr\u003e6. 5th mvt. - Rondo-Finale  (16:51)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra \u003c\/b\u003e\u003cbr\u003eSolo Horn: \u003cb\u003eBarry Tuckwell\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein\u003cbr\u003eRecording from the archive of Misha Horenstein\u003cbr\u003e\u003cbr\u003eRecorded 30 October, 1958\u003cbr\u003eBBC Maida Vale Studio 1, London\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:55    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 2: Mahler Symphony No. 5 (1969) - PASC613\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003ePART I\u003c\/b\u003e\u003cbr\u003e1. 1st mvt. - Trauermarsch  (13:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePART II\u003c\/b\u003e\u003cbr\u003e2. 2nd mvt. - Stürmisch bewegt, mit größter Vehemenz  (16:16)\u003cbr\u003e3. 3rd mvt. - Scherzo  (18:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePART III\u003c\/b\u003e\u003cbr\u003e4. 4th mvt. - Adagietto  (10:29)\u003cbr\u003e5. 5th mvt. - Rondo-Finale   (16:44)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eGothenburg Symphony Orchestra    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive concert recording, Gothenburg Concert Hall, Sweden, 16 October 1969 from the Misha Horenstein Archive. \u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein from the collection of Misha Horenstein\u003cbr\u003e\u003cbr\u003eTotal duration:  75:17    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32917820833853,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205530239310,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205530272078,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC416.jpg?v=1769529835"},{"product_id":"pabx031-cd","title":"HORENSTEIN Mahler Symphony No. 5: The Three Recordings (1958, 1961, 1969) - PABX031 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC416.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs with case \u0026 artwork (+MP3)","offer_id":32917819392061,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":false},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205530206542,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC416_2e35b773-0878-44ef-b2c9-ae639dc81d2e.jpg?v=1657122635"},{"product_id":"pasc616","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTannhäuser Overture - Lohengrin Prelude\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 - Academic Festival Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eGRIEG \u003c\/b\u003eTwo Elegiac Melodies\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eBoléro\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Perpetuum Mobile\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003emusic by \u003cb\u003eSuppé, Bizet, Mahler, Tchaikovsky\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-32\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 18:29\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC616.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release, along with our first volume (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc595\" target=\"_blank\"\u003ePASC 595\u003c\/a\u003e) and the\n    Tchaikovsky works featured on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\" target=\"_blank\"\u003ePASC 511\u003c\/a\u003e, present Willem Mengelberg’s\n    complete recordings with his Concertgebouw Orchestra for the Columbia\n    label. Mengelberg’s Columbias are significant in several respects: they\n    include his earliest recordings with the Concertgebouw, an ensemble whose\n    partnership with the conductor dated back to 1895; they feature the works\n    of some contemporary composers with whom Mengelberg had personal\n    friendships and special insights, such as Mahler; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e in our previous\n    volume, which have never been bettered on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    The present collection focuses on works from the Romantic era through the\n    music of the conductor’s contemporaries. Mengelberg only recorded a handful\n    of Wagner orchestral works; yet the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture which\n    opens our program stands among the finest ever made. Critic Rob Cowan has\n    written that it “vies with \u003cem\u003eLes Préludes\u003c\/em\u003e as the perfect show-case\n    for Mengelberg’s striking personality.” Aided by Columbia’s superb\n    engineering in one of his last recordings for the label, Mengelberg\n    achieves in the final pages the same overwhelming sense of glory he evoked\n    in the Liszt tone poem. Hardly less noteworthy is the \u003cem\u003eLohengrin\u003c\/em\u003e\n    Prelude, which highlights the string portamenti that were a hallmark of\n    Mengelberg’s interpretations.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg only recorded three of the Brahms symphonies – the Second and\n    Fourth for Telefunken, and this Columbia version of the Third. (A live\n    broadcast of the First, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc221\"\u003ePASC 221\u003c\/a\u003e, was released after his death.) As\n    there was already a recent Weingartner recording of the First in the\n    Columbia catalog, Mengelberg had to make do with only a single movement as\na filler side for his expansive performance of the \u003cem\u003eAcademic Festival\u003c\/em\u003e Overture. In the Third Symphony, the    \u003cem\u003eAndante\u003c\/em\u003e is taken at a surprisingly fast tempo. But lest one think\n    this was done solely to fit the movement onto a side and a half, he takes a\n    similar approach in a 1944 broadcast.\n\u003c\/p\u003e\n\u003cp\u003e\n    The next selections display Mengelberg’s deft touch with lighter music. A\n    highlight of the Suppé overture is the beautifully played solo by longtime\n    Concertgebouw principal cellist Marix Loevensohn. The Johann Strauss work\n    is a showcase for the various sections of the orchestra, each displaying a\n    memorable individuality. The Bizet again draws attention to the portamenti\n    of the Concertgebouw strings, as they work up to an expertly paced\n    crescendo.\n\u003c\/p\u003e\n\u003cp\u003e\n    Three composers Mengelberg knew personally follow in our program. Both\n    Grieg and Ravel expressed admiration for the conductor; and Mahler was a\n    close friend whose works Mengelberg championed for years, both before and\n    after the composer’s death. The \u003cem\u003eAdagietto\u003c\/em\u003e from Mahler’s Fifth\n    presented here is perhaps the most important document in this set; for in\n    addition to being the conductor’s only commercial recording of a Mahler\n    work, its notably faster pacing reveals it in a much different light than\n    that of subsequent interpreters.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Ravel was one of the four earliest recordings of the work, made between\n    January and May of 1930, after those of Piero Coppola, the composer himself\n    and Serge Koussevitzky. Though it drives to an impressively loud\n    conclusion, the performance is somewhat hobbled by the players’ requirement\n    to stop every four minutes to start a new matrix, with tempi and volume\n    levels becoming inconsistent from side to side.\n\u003c\/p\u003e\n\u003cp\u003e\nThe final work is an unpublished take of the Waltz from Tchaikovsky’s    \u003cem\u003eSerenade for Strings\u003c\/em\u003e, which was omitted from our earlier\n    all-Tchaikovsky set. There is some untidy ensemble around 2:50, which may\n    have been the reason Mengelberg recorded another two takes before he\n    approved the result. Such was his sense of perfectionism, even in a\n    seemingly minor filler side like this. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\n        \u003cstrong\u003e\n            \u003cspan style=\"font-size: 24px;\"\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003eColumbia Recordings ∙\n            Volume II\n        \u003c\/span\u003e\n    \u003c\/a\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n    \u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e (73:10)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eWAGNER: Tannhäuser – Overture (Dresden version) \u003c\/strong\u003e(13:32)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 May 1932 ∙ Matrices: WAX 6413-3, 6414-3, 6415-2 \u0026amp; 6416-1 ∙\n    First issued on Columbia LX 170\/1\n\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n2. \u003cstrong\u003eWAGNER: Lohengrin – Prelude to Act 1 \u003c\/strong\u003e(8:38)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1927 ∙ Matrices: WAX 2839-1 \u0026amp; 2840-2 ∙ First issued on\n    Columbia L 1948\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. \u003cstrong\u003eBRAHMS: Academic Festival Overture, Op. 80 \u003c\/strong\u003e(11:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 May 1930 ∙ Matrices: WAX 5596-1, 5597-2 \u0026amp; 5598-2 ∙ First\n    issued on Columbia LX 58\/9\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBRAHMS: Symphony No. 1 in C minor, Op. 68\u003c\/strong\u003e\u003cbr\u003e4. 3rd Mvt.: Un poco allegretto e grazioso (4:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1930 ∙ Matrix: WAX 5608-2 ∙ First issued on Columbia LX 59\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e BRAHMS: Symphony No. 3 in F major, Op. 90\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro con brio (13:04)\u003cbr\u003e6. 2nd Mvt.: Andante (7:07)\u003cbr\u003e7. 3rd Mvt.: Poco allegretto (5:38)\u003cbr\u003e8. 4th Mvt.: Allegro (9:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 May 1932 ∙ Matrices: WAX 6417-2, 6418-1, 6419-2, 6420-1,\n    6421-2, 6422-2, 6423-3 \u0026amp; 6424-2 ∙ First issued on Columbia LX 220\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (65:24)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSUPPÉ: Poet and Peasant – Overture \u003c\/strong\u003e(8:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 May 1932 ∙ Matrices: WAX 6425-2 \u0026amp; 6426-2 ∙ First issued on\n    Columbia LX 179\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    2. \u003cstrong\u003eJ. STRAUSS II: Perpetuum Mobile, Op. 257 \u003c\/strong\u003e(4:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 May 1932 ∙ Matrix: WAX 6428-1 ∙ First issued on Columbia LX 240\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. \u003cstrong\u003eBIZET: L’Arlésienne - Adagietto \u003c\/strong\u003e(4:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 June 1929 ∙ Matrix: WAX 5048-3 ∙ First issued on Columbia DX 6\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eGRIEG: Two Elegiac Melodies, Op. 34\u003c\/strong\u003e\u003cbr\u003e4. No. 1 – Heart Wounds (Hjertesår) (3:44)\u003cbr\u003e5. No. 2 – The Last Spring (Våren) (4:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 3 June 1931 ∙ Matrices: WAX 6140-2 \u0026amp; 6141-1 ∙ First issued on\n    Columbia LX 168\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMAHLER: Symphony No. 5 in C sharp minor\u003c\/strong\u003e\u003cbr\u003e6. 4th Mvt.: Adagietto: Sehr langsam (7:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1548-2 \u0026amp; 1549-2 ∙ First issued on\n    Columbia L 1768\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eRAVEL: Boléro \u003c\/strong\u003e(14:40)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1930 ∙ Matrices: WAX 5603-1, 5604-1, 5605-1 \u0026amp; 5606-2 ∙\n    First issued on Columbia LX 48\/9\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\u003c\/a\u003e\n    \u003ca name=\"OLE_LINK2\"\u003e\n        \u003cstrong\u003e\u003cem\u003e\u003cbr\u003eEarly Versions and Alternate Takes\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    9. \u003cstrong\u003eWAGNER: Tannhäuser – Overture (Dresden version) \u003c\/strong\u003e(14:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1538-1, 1539-3, 1540-2 \u0026amp; 1541-3 ∙\n    First issued on Columbia L 1770\/1\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eTCHAIKOVSKY: Serenade for Strings, Op. 48\u003c\/strong\u003e\u003cbr\u003e10. 2nd Mvt.: Waltz (3:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 May 1928 ∙ Matrix: WAX 3646-1 ∙ Take unissued on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem Mengelberg and the Concertgebouw Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n    \u003c\/span\u003e\u003ca name=\"OLE_LINK5\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n        \u003c\/span\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/a\u003e\u003cbr\u003eSpecial thanks to     \u003ca name=\"OLE_LINK4\"\u003eNathan Brown, Frank Forman and Charles Niss \u003c\/a\u003efor\n    providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\n\u003c\/p\u003e\u003cp\u003eTotal duration:  \u003cb\u003e2hr 18:29 \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC616.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC616.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine 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(+MP3)","offer_id":32953397674045,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205529780558,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC616_fdd0d2c0-9240-4b3d-8f5e-ca26521b968d.jpg?v=1658750968"},{"product_id":"pabx032","title":"MENGELBERG The Complete Columbia Concertgebouw Recordings (1926-32) - PABX032","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ S BACH\u003c\/b\u003e Suite No. 2 for Flutes and Strings\u003c\/span\u003e\u003cbr data-start=\"43\" data-end=\"46\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eJ C BACH\u003c\/b\u003e Sinfonia in B flat\u003c\/span\u003e\u003cbr data-start=\"73\" data-end=\"76\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overtures 1 \u0026amp; 3, Coriolan Overture et al\u003c\/span\u003e\u003cbr data-start=\"134\" data-end=\"137\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 - Academic Festival Overture\u003c\/span\u003e\u003cbr data-start=\"187\" data-end=\"190\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eGRIEG \u003c\/b\u003eTwo Elegiac Melodies\u003c\/span\u003e\u003cbr data-start=\"216\" data-end=\"219\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eLISZT \u003c\/b\u003eLes Préludes\u003c\/span\u003e\u003cbr data-start=\"237\" data-end=\"240\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eRAVEL \u003c\/b\u003eBoléro\u003c\/span\u003e\u003cbr data-start=\"252\" data-end=\"255\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Perpetuum Mobile\u003c\/span\u003e\u003cbr data-start=\"284\" data-end=\"287\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 4 in F minor\u003c\/span\u003e\u003cbr data-start=\"324\" data-end=\"327\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor\u003c\/span\u003e\u003cbr data-start=\"364\" data-end=\"367\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eRomeo and Juliet – Fantasy Overture\u003c\/span\u003e\u003cbr data-start=\"414\" data-end=\"417\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eWaltz from Serenade for Strings\u003c\/span\u003e\u003cbr data-start=\"460\" data-end=\"463\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eWAGNER \u003c\/b\u003eTannhäuser Overture - Lohengrin Prelude\u003c\/span\u003e\u003cbr data-start=\"509\" data-end=\"512\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz, Euryanthe, Oberon - Overtures\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003emusic by \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCheubini, Mendelssohn, Berlioz\u003c\/b\u003e, \u003c\/span\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSuppé, Bizet, Mahler, Tchaikovsky\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-32\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003c\/span\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC616.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\"\u003eMENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    Willem Mengelberg had a long history as a champion of Tchaikovsky going\n    back to some of his earliest appearances as chief conductor of the\n    Concertgebouw Orchestra in 1895. The rhythmic flexibility, passionate\n    intensity and inexorable forward momentum of his performances were ideally\n    suited to the Russian composer’s works.\n\u003c\/p\u003e\n\u003cp\u003e\n    Among his earliest acoustic recordings with the New York Philharmonic for\n    Victor were two abridged movements from the \u003cem\u003ePathétique\u003c\/em\u003e Symphony,\n    each on a single side, and the Waltz from the Serenade for Strings. With\n    the introduction of electrical recording and the signing of his Dutch\n    orchestra to the Columbia label, however, his recorded Tchaikovsky\n    repertoire expanded significantly.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg’s first attempt at recording Tchaikovsky’s Fifth Symphony was in\n    June, 1927, when only the middle two movements were taken down. Although\n    this session was recorded by Columbia, these sides were issued only on\n    French Odeon, and are among Mengelberg’s rarest discs. In December of the\n    same year, Mengelberg recorded the symphony complete with the New York\n    Philharmonic for Brunswick. This set was never released, however,\n    reportedly because it failed the “wear test” with regard to blasting during\n    loud passages, and the masters were destroyed.\n\u003c\/p\u003e\n\u003cp\u003e\n    Five months later, he recorded the complete performance presented here,\n    which has remained a gramophone classic despite its inherent speed\n    fluctuation problems (definitively fixed here using Capstan pitch\n    stabilisation software). He would go on to re-record the work in 1940 with\n    the Berlin Philharmonic (Pristine PASC 348), and a live broadcast with the\n    Concertgebouw from 1939 has also been released. In all of these, Mengelberg\n    takes two cuts in the finale: a large one in the development section, and a\n    smaller one at the start of the coda. He claimed for these the authority of\n    the composer’s brother, Modest, who had told him that Tchaikovsky himself\n    made these elisions in his later performances of the work in order to\n    tighten the structure of the movement.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nIn contrast to the many versions of the Fifth, both the Fourth Symphony and    \u003cem\u003eRomeo and Juliet\u003c\/em\u003e only received the single recordings presented\n    here. The \u003cem\u003eRomeo\u003c\/em\u003e is particularly noteworthy in being one of the few\n    versions from the 78 rpm era to fit on four sides, although it is\n    accompanied by a noticeable tempo acceleration at the start of Side 3. The\n    Waltz from the Serenade for Strings was originally issued as the filler for\n    the Fifth Symphony. Mengelberg and the Concertgebouw would go on to\n    re-record it as part of the complete Serenade for Telefunken in 1938.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the transfers were U.S. Columbia “Viva-Tonal” label\n    pressings, and French Odeons for the two movements from the Fifth Symphony\n    from 1927.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\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\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This release, along with the Tchaikovsky recordings previously reissued on\n    Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\" target=\"_blank\"\u003ePASC 511\u003c\/a\u003e and another volume to follow, will present Willem\n    Mengelberg’s complete recordings with his Concertgebouw Orchestra for the\n    Columbia label. Early versions will be included as well as their remakes,\n    along with alternate takes (one of them in the next volume unpublished on\n    78 rpm).\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg’s Columbias are significant in several respects: they include\n    his first recordings with the Concertgebouw, an ensemble whose partnership\n    with the conductor dated back to 1895; they feature the works of some\n    contemporary composers with whom Mengelberg had personal friendships and\n    special insights, such as Mahler in our next volume; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e, which have\n    never been bettered on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    The present volume focuses on works from the Baroque to the early Romantic\n    era. The music of Johann Sebastian Bach was considered a Mengelberg\n    specialty during his career, and he was noted for his annual performances\n    of the \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e in Amsterdam. The conductor’s\n    big-orchestra Romantic era approach would not pass muster today – flute\n    solos are doubled, one commentator has reported hearing an organ in the\nbackground, and I’m sure there’s a glockenspiel tinkling away in the    \u003cem\u003eBadinerie\u003c\/em\u003e \u003cem\u003e– \u003c\/em\u003eyet I think we are the poorer for it.\n\u003c\/p\u003e\n\u003cp\u003e\n    Only two movements of the \u003cem\u003eSinfonia\u003c\/em\u003e by Bach’s youngest son were\n    recorded by Columbia, but Mengelberg was able to complete it in a\n    near-contemporaneous recording with his “other” orchestra, the New York\n    Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc378\" target=\"_blank\"\u003ePASC 378\u003c\/a\u003e), a reading which is surprisingly similar, not only\n    in overall interpretive approach but also in orchestral execution.\n    Mengelberg was an early champion of the works of Cherubini, and his\n    recording of the \u003cem\u003eAnacreon\u003c\/em\u003e Overture reveals the composer’s\n    influence on Beethoven.\n\u003c\/p\u003e\n\u003cp\u003e\n    Columbia had already recorded Weingartner in the Beethoven Eighth Symphony\n    earlier in the year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc414\" target=\"_blank\"\u003ePASC 414\u003c\/a\u003e), so Mengelberg had to make do with only a\n    single movement as a filler side to the Cherubini. (He was later to record\n    it complete for Telefunken.) It is replete with humorous detail, as well as\n    some inadvertent studio noises. The conductor also brings the grandiose\n    humor of the “Turkish March” to the fore in another recording he was later\n    to remake for Telefunken.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Beethoven overtures taken down during these sessions are classic\n    readings which belie the caricature of the conductor as “Mangleberg”. Here,\n    there is no self-indulgent phrase-pulling, but rather finely judged rubato\n    and rhetorical emphases. (And here again, as with the J. C. Bach, one can\n    compare the two Concertgebouw versions of the \u003cem\u003eEgmont\u003c\/em\u003e with a New\n    York recording made between them.)\n\u003c\/p\u003e\n\u003cp\u003e\n    In the Weber overtures, one can hear Mengelberg’s fusion of forward\n    momentum coupled to a sense of magical wonder. Listen, for example, to the\n    bridge between the boisterous opening of the \u003cem\u003eEuryanthe\u003c\/em\u003e Overture\n    and the lyrical second subject. Here, unlike many other interpreters,\n    Mengelberg takes an extremely broad tempo accompanied by tender string\n    portamenti. It’s usually a throwaway transitional moment; but Mengelberg\n    elevates it to something sublime.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Mendelssohn Scherzo appeared in two different takes, the somewhat less\n    tidy earlier one issued only in America. A cut is taken in both for disc\n    timing reasons, although the conductor performed it complete in a 1938 BBC\n    Symphony broadcast (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc184\" target=\"_blank\"\u003ePASC 184\u003c\/a\u003e). The two Berlioz excerpts were hampered by\n    dim early sound and pitch drift (corrected here), but restoration reveals\nidiomatic performances. Arguably best of all is Mengelberg’s Liszt, with    \u003cem\u003eLes Préludes\u003c\/em\u003e blazing in a grandeur only one born with a\n    Romantic-era sensibility could truly grasp and convey. (Or, as Humpty\n    Dumpty observed to Alice, “\u003cem\u003eThere’s\u003c\/em\u003e glory for you!”)\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\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This release, along with our first volume (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc595\" target=\"_blank\"\u003ePASC 595\u003c\/a\u003e) and the\n    Tchaikovsky works featured on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\" target=\"_blank\"\u003ePASC 511\u003c\/a\u003e, present Willem Mengelberg’s\n    complete recordings with his Concertgebouw Orchestra for the Columbia\n    label. Mengelberg’s Columbias are significant in several respects: they\n    include his earliest recordings with the Concertgebouw, an ensemble whose\n    partnership with the conductor dated back to 1895; they feature the works\n    of some contemporary composers with whom Mengelberg had personal\n    friendships and special insights, such as Mahler; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e in our previous\n    volume, which have never been bettered on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    The present collection focuses on works from the Romantic era through the\n    music of the conductor’s contemporaries. Mengelberg only recorded a handful\n    of Wagner orchestral works; yet the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture which\n    opens our program stands among the finest ever made. Critic Rob Cowan has\n    written that it “vies with \u003cem\u003eLes Préludes\u003c\/em\u003e as the perfect show-case\n    for Mengelberg’s striking personality.” Aided by Columbia’s superb\n    engineering in one of his last recordings for the label, Mengelberg\n    achieves in the final pages the same overwhelming sense of glory he evoked\n    in the Liszt tone poem. Hardly less noteworthy is the \u003cem\u003eLohengrin\u003c\/em\u003e\n    Prelude, which highlights the string portamenti that were a hallmark of\n    Mengelberg’s interpretations.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg only recorded three of the Brahms symphonies – the Second and\n    Fourth for Telefunken, and this Columbia version of the Third. (A live\n    broadcast of the First, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc221\"\u003ePASC 221\u003c\/a\u003e, was released after his death.) As\n    there was already a recent Weingartner recording of the First in the\n    Columbia catalog, Mengelberg had to make do with only a single movement as\na filler side for his expansive performance of the \u003cem\u003eAcademic Festival\u003c\/em\u003e Overture. In the Third Symphony, the    \u003cem\u003eAndante\u003c\/em\u003e is taken at a surprisingly fast tempo. But lest one think\n    this was done solely to fit the movement onto a side and a half, he takes a\n    similar approach in a 1944 broadcast.\n\u003c\/p\u003e\n\u003cp\u003e\n    The next selections display Mengelberg’s deft touch with lighter music. A\n    highlight of the Suppé overture is the beautifully played solo by longtime\n    Concertgebouw principal cellist Marix Loevensohn. The Johann Strauss work\n    is a showcase for the various sections of the orchestra, each displaying a\n    memorable individuality. The Bizet again draws attention to the portamenti\n    of the Concertgebouw strings, as they work up to an expertly paced\n    crescendo.\n\u003c\/p\u003e\n\u003cp\u003e\n    Three composers Mengelberg knew personally follow in our program. Both\n    Grieg and Ravel expressed admiration for the conductor; and Mahler was a\n    close friend whose works Mengelberg championed for years, both before and\n    after the composer’s death. The \u003cem\u003eAdagietto\u003c\/em\u003e from Mahler’s Fifth\n    presented here is perhaps the most important document in this set; for in\n    addition to being the conductor’s only commercial recording of a Mahler\n    work, its notably faster pacing reveals it in a much different light than\n    that of subsequent interpreters.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Ravel was one of the four earliest recordings of the work, made between\n    January and May of 1930, after those of Piero Coppola, the composer himself\n    and Serge Koussevitzky. Though it drives to an impressively loud\n    conclusion, the performance is somewhat hobbled by the players’ requirement\n    to stop every four minutes to start a new matrix, with tempi and volume\n    levels becoming inconsistent from side to side.\n\u003c\/p\u003e\n\u003cp\u003e\nThe final work is an unpublished take of the Waltz from Tchaikovsky’s    \u003cem\u003eSerenade for Strings\u003c\/em\u003e, which was omitted from our earlier\n    all-Tchaikovsky set. There is some untidy ensemble around 2:50, which may\n    have been the reason Mengelberg recorded another two takes before he\n    approved the result. Such was his sense of perfectionism, even in a\n    seemingly minor filler side like this. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\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\"\u003eMENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (60:01)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eTCHAIKOVSKY: Romeo and Juliet – Fantasy Overture\u003c\/strong\u003e (18:41)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 30 May 1930 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 5599-2, 5600-2, 5601-2 and 5602-2\u003cbr\u003eFirst issued on Columbia LX 55\/6\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\u003eTCHAIKOVSKY: Symphony No. 4 in F minor, Op. 36\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    2. 1st Mvt.: Andante sostenuto (17:18)\u003cbr\u003e3. 2nd Mvt.: Andantino in modo di canzone (8:53)\u003cbr\u003e4. 3rd Mvt.: Pizzicato ostinato (5:44)\u003cbr\u003e5. 4th Mvt.: Finale – Allegro con fuoco (9:23)\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 11 - 15 June 1929 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 5034-5, 5035-1, 5036-2, 5037-1, 5038-2, 5039-1, 5040-3,\n    5041-1, 5042-2 and 5043-1\u003cbr\u003eFirst issued on Columbia L 2366\/70\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 (68:39)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eTCHAIKOVSKY: Symphony No. 5 in E minor, Op. 64\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. 2nd Mvt.: Andante cantabile, con alcuna licenza (14:09)\u003cbr\u003e2. 3rd Mvt.: Valse – Allegro moderato (6:12)\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 10 June 1927 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 2831\/6 (Columbia) and 7855\/60 (Odeon)\u003cbr\u003eFirst issued on Odeon (France) 123.533\/5\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\u003eTCHAIKOVSKY: Symphony No. 5 in E minor, Op. 64\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    3. 1st Mvt.: Andante (13:33)\u003cbr\u003e4. 2nd Mvt.: Andante cantabile, con alcuna licenza (14:23)\u003cbr\u003e5. 3rd Mvt.: Valse – Allegro moderato (6:22)\u003cbr\u003e6. 4th Mvt.: Finale – Andante maestoso (10:01)\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 10 May 1928 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 3629-3, 3630-3, 3631-3, 3632-3, 3633-2, 3634-3, 3635-2,\n    3636-2, 3637-4, 3638-2, 3639-3, 3640-3 and 3641-3\u003cbr\u003eFirst issued on Columbia L 2176\/82\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\u003eTCHAIKOVSKY: Serenade for Strings, Op. 48\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    7. 2nd Mvt.: Waltz (3:57)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 10 May 1928 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix no.: WAX 3646-3\u003cbr\u003eFirst issued on Columbia L 2182\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eWillem Mengelberg ∙ Concertgebouw Orchestra of Amsterdam\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\u003ePitch stabilisation (CD 2, Tracks 3 – 7): Andrew Rose\n\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCover artwork based on photographs of Tchaikovsky and Mengelberg\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 08:26\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\n        \u003cstrong\u003e\n            \u003cspan style=\"font-size: 24px;\"\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003eColumbia Recordings ∙\n            Volume I\n        \u003c\/span\u003e\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cbr\u003e\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (74:55)\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\n        J. S. BACH: Suite No. 2 in B minor for Flutes and Strings, BWV 1067\u003c\/strong\u003e\u003cbr\u003e1. Ouverture: Grave; Allegro (8:04)\u003cbr\u003e2. Rondeau: Allegro (1:32)\u003cbr\u003e3. Sarabande: Andante (2:08)\u003cbr\u003e4. Bourées I and II (3:09)\u003cbr\u003e5. Polonaise: Moderato (3:26)\u003cbr\u003e6. Menuet: Allegretto (1:21)\u003cbr\u003e7. Badinerie: Allegro (1:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 June 1931 ∙ Matrices: WAX 6134-2, 6135-1, 6136-2, 6137-2, 6138-1\n    \u0026amp; 6139-2 ∙ First issued on Columbia LX 134\/6\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        \u003c\/span\u003eJ. C. BACH (arr. Stein): Sinfonia in B flat, Op. 18, No. 2 (“Lucio\n        Silla” Overture)\u003c\/strong\u003e\u003cbr\u003e8. 1st Mvt.: Allegro assai (2:55)\u003cbr\u003e9. 2nd Mvt.: Andante (4:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1927 ∙ Matrices: WAX 2837-1 \u0026amp; 2838-1 ∙ First issued on\n    Columbia L 2047\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e10. \u003cstrong\u003eCHERUBINI: Anacreon – Overture \u003c\/strong\u003e(9:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1927 ∙ Matrices: WAX 2841-2, 2842-1 \u0026amp; 2843-1 ∙ First\n    issued on Columbia L 1972\/3\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eBEETHOVEN: Symphony No. 8 in F, Op. 93\u003c\/strong\u003e\u003cbr\u003e11. 2nd Mvt.: Allegretto scherzando (4:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1927 ∙ Matrix: WAX 2844-1 ∙ First issued on Columbia L\n    1973\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\u003eBEETHOVEN: The Ruins of Athens – Op.113\u003c\/strong\u003e\u003cbr\u003e12. No. 4 – Turkish March (2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1930 ∙ Matrix: WAX 5607-2 ∙ First issued on Columbia LX 130\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\u003e13. \u003cstrong\u003eBEETHOVEN: Coriolan, Op. 62 – Overture \u003c\/strong\u003e(7:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1931 ∙ Matrices: WAX 6128-2 \u0026amp; 6129-2 ∙ First issued on\n    Columbia LX 167\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    14. \u003cstrong\u003eBEETHOVEN: Leonore Overture No. 1, Op. 138 \u003c\/strong\u003e(9:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 June 1931 ∙ Matrices: WAX 6132-1 \u0026amp; 6133-2 ∙ First issued on\n    Columbia LX 160\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    15. \u003cstrong\u003eBEETHOVEN: Leonore Overture No. 3, Op. 72b \u003c\/strong\u003e(13:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 May 1930 ∙ Matrices: WAX 5593-2, 5594-2 \u0026amp; 5595-2 ∙ First\n    issued on Columbia LX 129\/30\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (78:29)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eBEETHOVEN: Egmont, Op. 84 – Overture \u003c\/strong\u003e(8:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 June 1931 ∙ Matrices: WAX 6130-2 \u0026amp; 6131-2 ∙ First issued on\n    Columbia LX 161\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003eWEBER: Der Freischütz – Overture \u003c\/strong\u003e(8:58)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1931 ∙ Matrices: WAX 6126-2 \u0026amp; 6127-3 ∙ First issued on\n    Columbia LX 154\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3. \u003cstrong\u003eWEBER: Euryanthe – Overture \u003c\/strong\u003e(8:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1931 ∙ Matrices: WAX 6124-2 \u0026amp; 6125-3 ∙ First issued on\n    Columbia LX 157\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eWEBER: Oberon – Overture \u003c\/strong\u003e(9:08)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 May 1928 ∙ Matrices: WAX 3642-3, 3643-2 \u0026amp; 3644-2 ∙ First\n    issued on Columbia L 2312\/3\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        MENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/strong\u003e\u003cbr\u003e5. No. 1 - Scherzo (3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 May 1928 ∙ Matrix: WAX 3645-2 ∙ First issued on Columbia 9560\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eBERLIOZ: The Damnation of Faust, Op. 24\u003c\/strong\u003e\u003cbr\u003e6. Dance of the Sylphs (2:22)\u003cbr\u003e7. Hungarian March (3:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1543-3 \u0026amp; 1542-2 ∙ First issued on\n    Columbia L 1810\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eLISZT: Les Préludes, G97 \u003c\/strong\u003e(15:26)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 June 1929 ∙ Matrices: WAX 5044-2, 5045-2, 5046-2 \u0026amp; 5047-2 ∙\n    First issued on Columbia L 2362\/3\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cem\u003e\u003cbr\u003eEarly Versions and Alternate Takes\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    9. \u003cstrong\u003eBEETHOVEN: Coriolan, Op. 62 – Overture \u003c\/strong\u003e(7:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1546-2 \u0026amp; 1547-2 ∙ First issued on\n    Columbia L 1848\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    10. \u003cstrong\u003eBEETHOVEN: Egmont, Op. 84 – Overture \u003c\/strong\u003e(7:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1544-3 \u0026amp; 1545-1 ∙ First issued on\n    Columbia L 1799\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        MENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/strong\u003e\u003cbr\u003e11. No. 1 - Scherzo (3:50)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 May 1928 ∙ Matrix: WAX 3645-1 ∙ First issued on American\n    Columbia 67486-D\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\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca name=\"OLE_LINK2\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\n    \u003c\/b\u003e\u003c\/a\u003e\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Special thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\n\n\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e 2hr 33:24\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\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\n        \u003cstrong\u003e\n            \u003cspan style=\"font-size: 24px;\"\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003eColumbia Recordings ∙\n            Volume II\n        \u003c\/span\u003e\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\n    \u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e (73:10)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eWAGNER: Tannhäuser – Overture (Dresden version) \u003c\/strong\u003e(13:32)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 May 1932 ∙ Matrices: WAX 6413-3, 6414-3, 6415-2 \u0026amp; 6416-1 ∙\n    First issued on Columbia LX 170\/1\n\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n2. \u003cstrong\u003eWAGNER: Lohengrin – Prelude to Act 1 \u003c\/strong\u003e(8:38)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1927 ∙ Matrices: WAX 2839-1 \u0026amp; 2840-2 ∙ First issued on\n    Columbia L 1948\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3. \u003cstrong\u003eBRAHMS: Academic Festival Overture, Op. 80 \u003c\/strong\u003e(11:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 May 1930 ∙ Matrices: WAX 5596-1, 5597-2 \u0026amp; 5598-2 ∙ First\n    issued on Columbia LX 58\/9\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eBRAHMS: Symphony No. 1 in C minor, Op. 68\u003c\/strong\u003e\u003cbr\u003e4. 3rd Mvt.: Un poco allegretto e grazioso (4:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1930 ∙ Matrix: WAX 5608-2 ∙ First issued on Columbia LX 59\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e BRAHMS: Symphony No. 3 in F major, Op. 90\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro con brio (13:04)\u003cbr\u003e6. 2nd Mvt.: Andante (7:07)\u003cbr\u003e7. 3rd Mvt.: Poco allegretto (5:38)\u003cbr\u003e8. 4th Mvt.: Allegro (9:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 May 1932 ∙ Matrices: WAX 6417-2, 6418-1, 6419-2, 6420-1,\n    6421-2, 6422-2, 6423-3 \u0026amp; 6424-2 ∙ First issued on Columbia LX 220\/3\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 (65:24)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSUPPÉ: Poet and Peasant – Overture \u003c\/strong\u003e(8:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 May 1932 ∙ Matrices: WAX 6425-2 \u0026amp; 6426-2 ∙ First issued on\n    Columbia LX 179\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003eJ. STRAUSS II: Perpetuum Mobile, Op. 257 \u003c\/strong\u003e(4:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 May 1932 ∙ Matrix: WAX 6428-1 ∙ First issued on Columbia LX 240\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3. \u003cstrong\u003eBIZET: L’Arlésienne - Adagietto \u003c\/strong\u003e(4:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 June 1929 ∙ Matrix: WAX 5048-3 ∙ First issued on Columbia DX 6\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eGRIEG: Two Elegiac Melodies, Op. 34\u003c\/strong\u003e\u003cbr\u003e4. No. 1 – Heart Wounds (Hjertesår) (3:44)\u003cbr\u003e5. No. 2 – The Last Spring (Våren) (4:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 3 June 1931 ∙ Matrices: WAX 6140-2 \u0026amp; 6141-1 ∙ First issued on\n    Columbia LX 168\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMAHLER: Symphony No. 5 in C sharp minor\u003c\/strong\u003e\u003cbr\u003e6. 4th Mvt.: Adagietto: Sehr langsam (7:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1548-2 \u0026amp; 1549-2 ∙ First issued on\n    Columbia L 1768\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eRAVEL: Boléro \u003c\/strong\u003e(14:40)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1930 ∙ Matrices: WAX 5603-1, 5604-1, 5605-1 \u0026amp; 5606-2 ∙\n    First issued on Columbia LX 48\/9\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\u003c\/a\u003e\n    \u003ca name=\"OLE_LINK2\"\u003e\n        \u003cstrong\u003e\u003cem\u003e\u003cbr\u003eEarly Versions and Alternate Takes\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    9. \u003cstrong\u003eWAGNER: Tannhäuser – Overture (Dresden version) \u003c\/strong\u003e(14:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1538-1, 1539-3, 1540-2 \u0026amp; 1541-3 ∙\n    First issued on Columbia L 1770\/1\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eTCHAIKOVSKY: Serenade for Strings, Op. 48\u003c\/strong\u003e\u003cbr\u003e10. 2nd Mvt.: Waltz (3:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 May 1928 ∙ Matrix: WAX 3646-1 ∙ Take unissued on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem Mengelberg and the Concertgebouw Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n    \u003c\/span\u003e\u003ca name=\"OLE_LINK5\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n        \u003c\/span\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/a\u003e\u003cbr\u003eSpecial thanks to     \u003ca name=\"OLE_LINK4\"\u003eNathan Brown, Frank Forman and Charles Niss \u003c\/a\u003efor\n    providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\n\u003c\/p\u003e\n\u003cp\u003eTotal duration:  \u003cb\u003e2hr 18:29 \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_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":32954858733629,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205529747790,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX032_c161586f-3b20-413d-b4b6-99f022e52869.jpg?v=1773923374"},{"product_id":"pabx032-cd","title":"MENGELBERG The Complete Columbia Concertgebouw Recordings (1926-32) - PABX032 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs with case \u0026 artwork (+MP3)","offer_id":32954852278333,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":false},{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":55205529682254,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC616_cc4d2946-49d4-4339-892e-35868826f34d.jpg?v=1657122641"},{"product_id":"pasc620","title":"HORENSTEIN in Gothenburg Vol. 4: Mozart \u0026 Mahler (1968) - PASC620","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 35 'Haffner'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert recordings, 1968\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:27\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJennifer Vyvyan\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eGothenburg Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC620.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis is the fourth recording in a series published by Pristine Classical chronicling the concerts conducted by Jascha Horenstein during his visits to the Swedish city of Gothenburg in the late 1960s. On all three occasions, first in January 1968, then in December of that year and finally in October 1969, he was asked to conduct works that would challenge the recently expanded Gothenburg Symphony Orchestra and its newly engaged personnel, particularly in the brass section. It was for this reason that his program choices settled on Mahler's 4th, followed by Bruckner's 6th, Schubert's 9th and finally Mahler's 5th symphonies, good tests of the orchestra's mettle and its ability to handle large-scale romantic music. These were given in four attractively constructed programs that also included works by Bach, Handel, Mozart, Liszt and Saint-Saëns, all of which were recorded in-house and have been remastered for publication on this label. The present recording reproduces the first of Horenstein’s four Gothenburg programs, an evening that opened with a performance of Mozart's “Haffner” Symphony and ended with Mahler's Fourth. The soprano soloist, Jennifer Vyvyan, also performed selections from Act II of Handel's opera Rinaldo that will be published separately.\u003cbr\u003e\u003cbr\u003eMozart stated that the first movement of his D-major symphony was to be played “with fire”, an instruction abundantly evident throughout Horenstein's fleet-footed, sharply defined performance of K.385, played with great gusto and enthusiasm, and no repeats, by a clearly energized Gothenburg Orchestra. The outer movements, urgent and dramatic with crisply defined rhythmic profiles, are complemented by a beguiling grace and elegance in the Andante and a Menuetto of clear contrasts. A little gem.\u003cbr\u003e\u003cbr\u003eMahler's Fourth Symphony entered Horenstein's repertoire during the Weimar era when he gave several performances in Berlin that established his conducting credentials and his early identification with this composer. He continued to perform the Fourth throughout his career with great success, notably in 1970 with the London Philharmonic Orchestra that resulted in his studio recording of the work for EMI. The present publication, taken from nearly three years earlier, is the only other recorded example of his thoughts on this work. It is distinguished from its commercial cousin, and benefits in spontaneity if not always in execution, by being “live”. \u003cbr\u003e\u003cbr\u003eHorenstein's account of the Fourth is not naive or simple but probing and searching, an empathetic shaping of accent and expression that goes far beyond the facile view of the work as one of the \"easy\" Mahler symphonies. His phrasing makes both sense and sensibility where other conductors manage only to stress its beauty, and he can contain the musical tension in such a way that the essential logic of the work is realized as much at the beginning as at the end. \u003cbr\u003e\u003cbr\u003eThe Gothenburg Orchestra, alert and alive, plays with passion and dedication, clearly in sync with the conductor if not always with each other, and manage to negotiate some of Horenstein’s tricky demands with great aplomb, including some beautifully sustained \u003ci\u003epianissimi \u003c\/i\u003eand vividly characterized transition sections. \u003cbr\u003e\u003cbr\u003eThe soprano Jennifer Vyvyan was one of Horenstein’s preferred British soloists. Aside from several performances of Mahler’s Fourth, she also performed and recorded Britten’s “Les Illuminations” with him in England, and the War Requiem in Belgrade in 1972.\u003cbr\u003e\u003cb\u003e\u003cbr\u003eMisha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eHORENSTEIN \u003c\/b\u003ein Gothenburg, Volume 4\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eSymphony No. 35 in D major, K.385 'Haffner'\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro con spirito  (5:28)\u003cbr\u003e2. 2nd mvt. - Andante  (4:57)\u003cbr\u003e3. 3rd mvt. - Menuetto  (2:58)\u003cbr\u003e4. 4th mvt. - Presto  (4:01)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 4 in G major\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Bedächtig, nicht eilen  (17:41)\u003cbr\u003e6. 2nd mvt. - In gemächlicher Bewegung, ohne Hast  (10:31)\u003cbr\u003e7. 3rd mvt. - Ruhevoll, poco adagio  (21:06)\u003cbr\u003e8. 4th mvt. - Wir geniessen die Himmlischen Freuden. Sehr behaglich  (9:45)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJennifer Vyvyan\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  soprano\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGothenburg Symphony Orchestra    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive concert recording, Gothenburg Concert Hall, Sweden, 25 January 1968 from the Misha Horenstein Archive.\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein from the collection of Misha Horenstein.\u003cbr\u003e\u003cbr\u003eTotal duration:  76:27    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC620.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC620.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":33006255702077,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205529092430,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205529125198,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC620_12fdbace-35f4-4094-9039-ce0c47547bff.jpg?v=1611043482"},{"product_id":"pasc620-cd","title":"HORENSTEIN in Gothenburg Vol. 4: Mozart \u0026 Mahler (1968) - 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Overture\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 35 'Haffner'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Piano Concerto No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 9, 'Great'\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1968\/69\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eJennifer Vyvyan\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilippe Entremont\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eGothenburg Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC610.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\"\u003eHORENSTEIN in Gothenburg Vol. 1: Mozart, Saint-Saëns, Schubert (1969) - PASC610\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This compilation is the first in a series to be published by Pristine\n    Classical that will chronicle the concerts conducted by Jascha Horenstein\n    during his visits to the Swedish city of Gothenburg in the late 1960s. On\n    all three occasions, first in January 1968, then in December of that year\n    and finally in October 1969, Horenstein was asked to conduct works that\n    would challenge the recently expanded Gothenburg Symphony Orchestra and its\n    newly engaged personnel, particularly in the brass section. It was for this\n    reason that his program choices settled on Mahler’s 4th, followed by\n    Bruckner’s 6th, Schubert’s 9th and finally Mahler’s 5th symphonies, good\n    tests of the orchestra’s mettle and its ability to handle large-scale\n    romantic music. These were performed in four carefully and attractively\n    constructed programs that also included works by Bach, Handel, Mozart,\n    Liszt and Saint-Saëns, all of which were recorded in-house and will be\n    remastered for publication on this label.\n\u003c\/p\u003e\n\u003cp\u003e\n    The first volume in the series reproduces the complete concert of 9th\n    October 1969 during Horenstein’s third and last visit to Gothenburg. The\n    program, a typical example of his preference for variety and substance,\n    opened with a large-scale reading of the overture from Idomeneo, here\n    performed with solemn reverence and in a style now considered out of\n    fashion, followed by a scintillating rendition of Saint-Saëns’ popular\n    Second Piano Concerto with Philippe Entremont. No stranger to this piece,\n    Entremont launches into the opening cadenza with theatrical flourish and\n    leads the concerto, from its solemn opening to its light-hearted\n    conclusion, with great freedom of expression, flowing lyricism and delicacy\n    of touch. His exquisite tone and beauty of phrasing combine splendidly with\n    Horenstein’s watchful accompaniment to take the listener on a wildly\n    exhilarating and witty ride, in which the cooperative and attentive\n    orchestra deserves much of the credit.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like the other items in this collection, the recording of Schubert’s Ninth\n    Symphony, heard in Gothenburg after the break, is the only example of this\n    work in Horenstein’s extended discography. Constancy of tempo, essential in\n    Schubert’s Ninth whose unity can be imperiled by frequent shifts in pacing,\n    is the defining feature of Horenstein’s muscular, tightly controlled and\n    carefully measured reading. Extraordinarily clear in detail and shapely in\n    outline with a marked emphasis on the vertical and rhythmic elements so\n    fundamental to this work, Horenstein’s performance seethes with an\n    explosive, almost demonic energy that rarely relaxes, yet is sufficiently\n    flexible to give ample space to the lyrical sections when they arrive.\n    Repeats are kept to a minimum so as not to compromise the work’s “heavenly\n    length”, while Schubert’s bold and imaginative treatment of the brass, and\n    especially the trombones that initiate and carry much of the action\n    forward, is exploited to the full with style, swagger and tremendous sweep\n    by Horenstein and an alert, highly engaged Gothenburg orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 2: Mahler Symphony No. 5 (1969) - PASC613\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003eThis release is the second in a series published by Pristine Classical chronicling the concerts conducted by Jascha Horenstein during his visits to the Swedish city of Gothenburg in the late 1960s. On all three occasions, first in January 1968, then in December of that year and finally in October 1969, Horenstein was asked to conduct works that would challenge the recently expanded Gothenburg Symphony Orchestra and its newly engaged personnel, particularly in the brass section. It was for this reason that his program choices settled on Mahler’s 4th, followed by Bruckner’s 6th, Schubert’s 9th and finally Mahler’s 5th symphonies, good tests of the orchestra’s mettle and its ability to handle large-scale romantic music. These were performed in four carefully selected and attractively constructed programs that also included works by Bach, Handel, Mozart, Liszt and Saint-Saëns, all of which were recorded in-house and will be remastered for publication on this label. The present recording reproduces the last of the four Gothenburg programs conducted by Horenstein, an evening that opened with a gripping performance of Liszt’s symphonic poem Mazeppa, aptly programmed as a warm-up piece for the Mahler symphony that will be published separately.\u003cbr\u003e\u003cbr\u003eThis recording of Mahler’s Fifth, documenting the last of many occasions that Horenstein conducted the work, is the third under his direction to be published on this label following those with the Berlin Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc416\" target=\"_blank\"\u003ePASC 416\u003c\/a\u003e) and the London Symphony Orchestra (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc567\" target=\"_blank\"\u003ePASC 567\u003c\/a\u003e). The tough and tensile Gothenburg Mahler 5, not in the orchestra’s repertoire at that time, stands somewhere between the former’s  \"barbaric Mahler, struggling with and howling at God\", and the latter’s lucid, carefully pointed, carefully controlled reading. In all three performances the spacious formal outlines are clearly and firmly profiled, with the symphony’s multitudinous details kept coherent, proportional and in context.  All three performances also emphasize the strong fibers in the music while underplaying its softer centers, with Mahler’s expressionist roots clearly recognizable. The Gothenburg Symphony Orchestra, which had not played the work since the 1940s, responds to Horenstein’s demands with great feeling, sensitivity and dedication if not with the greatest executive refinement or precision, while the performance itself, with many felicitous details revealed, is another fine example of his unique capacity for getting the most out of his players in a short period of time. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 3: Bach \u0026amp; Bruckner (1968) - PASC615\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003eThis release is the third in a series published by Pristine Classical chronicling the concerts conducted by Jascha Horenstein during his visits to the Swedish city of Gothenburg in the late 1960s. On all three occasions, first in January 1968, then in December of that year and finally in October 1969, he was asked to conduct works that would challenge the recently expanded Gothenburg Symphony Orchestra and its newly engaged personnel, particularly in the brass section. It was for this reason that his program choices settled on Mahler's 4th, followed by Bruckner's 6th, Schubert's 9th and finally Mahler's 5th symphonies, good tests of the orchestra's mettle and its ability to handle large-scale romantic music. These were given in four  attractively constructed programs that also included works by Bach, Handel, Mozart, Liszt and Saint-Saëns, all of which were recorded in-house and will be remastered for publication on this label. \u003cbr\u003e\u003cbr\u003eThe present recording reproduces the second of Horenstein’s four Gothenburg programs, an evening that opened with a performance of Bach’s First Brandenburg Concerto, preserved here from a pre-concert rehearsal that ends with encouraging words from Horenstein to the musicians. The “live” performance has not, apparently, been preserved. \u003cbr\u003e\u003cbr\u003eHorenstein first became aware of Bruckner’s music as a youngster when he attended a June 1912 performance of the Ninth Symphony in Vienna conducted by Artur Nikisch, whom he credited with stimulating his desire to become a conductor. Later during the Weimar era his performances of Bruckner’s Ninth and a pioneering recording of the Seventh (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc203\"\u003ePASC 203\u003c\/a\u003e) were immediately recognized as authoritative and contributed to his meteoric rise among young conductors of the day. The unloved and rarely played Sixth was the only other Bruckner symphony he conducted during the early part of his career, the rest entered his repertoire only much later. However judging from the number of times he conducted it, the Sixth was his favourite of the canon after the Third, and also featured at his last performance of any music by Bruckner, in London in July 1972.\u003cbr\u003e\u003cbr\u003eThe recording from Gothenburg exhibits many of the qualities that made Horenstein’s performances of Bruckner so compelling: a steady rhythmic pulse, forward momentum and a transparent delineation of harmonic and melodic detail, all in the service of long-term shape and structure. The Gothenburg Orchestra, playing the symphony for the first time and lacking the refinement of more accomplished ensembles, delivers a performance of great intensity, drama and conviction that contrasts favourably with Horenstein’s more relaxed, suavely played studio recording from 1961 with the London Symphony Orchestra (remastered on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc574\"\u003ePASC 574\u003c\/a\u003e).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 4: Mozart \u0026amp; Mahler (1968) - PASC620\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003eThis is the fourth recording in a series published by Pristine Classical chronicling the concerts conducted by Jascha Horenstein during his visits to the Swedish city of Gothenburg in the late 1960s. On all three occasions, first in January 1968, then in December of that year and finally in October 1969, he was asked to conduct works that would challenge the recently expanded Gothenburg Symphony Orchestra and its newly engaged personnel, particularly in the brass section. It was for this reason that his program choices settled on Mahler's 4th, followed by Bruckner's 6th, Schubert's 9th and finally Mahler's 5th symphonies, good tests of the orchestra's mettle and its ability to handle large-scale romantic music. These were given in four attractively constructed programs that also included works by Bach, Handel, Mozart, Liszt and Saint-Saëns, all of which were recorded in-house and have been remastered for publication on this label. The present recording reproduces the first of Horenstein’s four Gothenburg programs, an evening that opened with a performance of Mozart's “Haffner” Symphony and ended with Mahler's Fourth. The soprano soloist, Jennifer Vyvyan, also performed selections from Act II of Handel's opera Rinaldo that will be published separately.\u003cbr\u003e\u003cbr\u003eMozart stated that the first movement of his D-major symphony was to be played “with fire”, an instruction abundantly evident throughout Horenstein's fleet-footed, sharply defined performance of K.385, played with great gusto and enthusiasm, and no repeats, by a clearly energized Gothenburg Orchestra. The outer movements, urgent and dramatic with crisply defined rhythmic profiles, are complemented by a beguiling grace and elegance in the Andante and a Menuetto of clear contrasts. A little gem.\u003cbr\u003e\u003cbr\u003eMahler's Fourth Symphony entered Horenstein's repertoire during the Weimar era when he gave several performances in Berlin that established his conducting credentials and his early identification with this composer. He continued to perform the Fourth throughout his career with great success, notably in 1970 with the London Philharmonic Orchestra that resulted in his studio recording of the work for EMI. The present publication, taken from nearly three years earlier, is the only other recorded example of his thoughts on this work. It is distinguished from its commercial cousin, and benefits in spontaneity if not always in execution, by being “live”. \u003cbr\u003e\u003cbr\u003eHorenstein's account of the Fourth is not naive or simple but probing and searching, an empathetic shaping of accent and expression that goes far beyond the facile view of the work as one of the \"easy\" Mahler symphonies. His phrasing makes both sense and sensibility where other conductors manage only to stress its beauty, and he can contain the musical tension in such a way that the essential logic of the work is realized as much at the beginning as at the end. \u003cbr\u003e\u003cbr\u003eThe Gothenburg Orchestra, alert and alive, plays with passion and dedication, clearly in sync with the conductor if not always with each other, and manage to negotiate some of Horenstein’s tricky demands with great aplomb, including some beautifully sustained \u003ci\u003epianissimi \u003c\/i\u003eand vividly characterized transition sections. \u003cbr\u003e\u003cbr\u003eThe soprano Jennifer Vyvyan was one of Horenstein’s preferred British soloists. Aside from several performances of Mahler’s Fourth, she also performed and recorded Britten’s “Les Illuminations” with him in England, and the War Requiem in Belgrade in 1972.\u003cbr\u003e\u003cb\u003e\u003cbr\u003eMisha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\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\"\u003eHORENSTEIN in Gothenburg Vol. 1: Mozart, Saint-Saëns, Schubert (1969) - PASC610\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eHorenstein in Gothenburg, Volume 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Idomeneo - Overture\u003c\/span\u003e  (5:48)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSAINT-SAËNS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Piano Concerto No. 2 in G minor, Op. 22\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Andante sostenuto  (11:17)\u003cbr\u003e3. 2nd mvt. - Allegro scherzando  (5:36)\u003cbr\u003e4. 3rd mvt. - Presto  (6:20)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003ePhilippe Entremont\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 9 in C major, D.944, 'Great'\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Andante - Allegro, ma non troppo - Più moto  (13:24)\u003cbr\u003e6. 2nd mvt. - Andante con moto  (13:56)\u003cbr\u003e7. 3rd mvt. - Scherzo. Allegro vivace - Trio  (10:31)\u003cbr\u003e8. 4th mvt. - Allegro vivace  (12:32)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGothenburg Symphony Orchestra   \u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive concert recording, Gothenburg Concert Hall, Sweden, 9 October 1969 from the Misha Horenstein Archive\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein from the collection of Misha Horenstein\u003cbr\u003e\u003cbr\u003eTotal duration:  79:24  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 2: Mahler Symphony No. 5 (1969) - PASC613\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003ePART I\u003c\/b\u003e\u003cbr\u003e1. 1st mvt. - Trauermarsch  (13:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePART II\u003c\/b\u003e\u003cbr\u003e2. 2nd mvt. - Stürmisch bewegt, mit größter Vehemenz  (16:16)\u003cbr\u003e3. 3rd mvt. - Scherzo  (18:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePART III\u003c\/b\u003e\u003cbr\u003e4. 4th mvt. - Adagietto  (10:29)\u003cbr\u003e5. 5th mvt. - Rondo-Finale   (16:44)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eGothenburg Symphony Orchestra    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive concert recording, Gothenburg Concert Hall, Sweden, 16 October 1969 from the Misha Horenstein Archive. \u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein from the collection of Misha Horenstein\u003cbr\u003e\u003cbr\u003eTotal duration:  75:17    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 3: Bach \u0026amp; Bruckner (1968) - PASC615\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eHorenstein in Gothenburg, Volume 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e  Brandenburg Concerto No. 1 in F major, BWV 1046*\u003cbr\u003e1. 1st mvt. - [Allegro]  (4:40)\u003cbr\u003e2. 2nd mvt. - Adagio  (3:43)\u003cbr\u003e3. 3rd mvt. - Allegro  (5:05)\u003cbr\u003e4. 4th mvt. - Menuetto  (7:49)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBRUCKNER  \u003c\/b\u003eSymphony No. 6 in A major, WAB 106\u003cbr\u003e5. 1st mvt. - Majestoso  (15:18)\u003cbr\u003e6. 2nd mvt. - Adagio. Sehr feierlich  (16:09)\u003cbr\u003e7. 3rd mvt. - Scherzo. Nicht schnell - Trio. Langsam  (9:30)\u003cbr\u003e8. 4th mvt. - Finale. Bewegt, doch nicht zu schnell  (14:08)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGothenburg Symphony Orchestra    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive concert and *rehearsal recording, Gothenburg Concert Hall, Sweden, 5 December 1968 from the Misha Horenstein Archive. \u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein from the collection of Misha Horenstein\u003cbr\u003e\u003cbr\u003eTotal duration:  76:22  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eHORENSTEIN in Gothenburg Vol. 4: Mozart \u0026amp; Mahler (1968) - PASC620\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eHORENSTEIN \u003c\/b\u003ein Gothenburg, Volume 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eSymphony No. 35 in D major, K.385 'Haffner'\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro con spirito  (5:28)\u003cbr\u003e2. 2nd mvt. - Andante  (4:57)\u003cbr\u003e3. 3rd mvt. - Menuetto  (2:58)\u003cbr\u003e4. 4th mvt. - Presto  (4:01)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 4 in G major\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Bedächtig, nicht eilen  (17:41)\u003cbr\u003e6. 2nd mvt. - In gemächlicher Bewegung, ohne Hast  (10:31)\u003cbr\u003e7. 3rd mvt. - Ruhevoll, poco adagio  (21:06)\u003cbr\u003e8. 4th mvt. - Wir geniessen die Himmlischen Freuden. Sehr behaglich  (9:45)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJennifer Vyvyan\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  soprano\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGothenburg Symphony Orchestra    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive concert recording, Gothenburg Concert Hall, Sweden, 25 January 1968 from the Misha Horenstein Archive.\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein from the collection of Misha Horenstein.\u003cbr\u003e\u003cbr\u003eTotal duration:  76:27    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":33006265270333,"sku":null,"price":64.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205528994126,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205529026894,"sku":null,"price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC610.jpg?v=1769529888"},{"product_id":"pabx034-cd","title":"HORENSTEIN in Gothenburg Complete: Bruckner, Mahler, Mozart, Saint-Sëans, Schubert (1968\/69) - 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His first known performance of Mahler’s Ninth Symphony took place\n    during a tour of Soviet Russia in April 1932. The tour took him to Moscow\n    for the local premiere of Mahler’s Fifth, and to Leningrad where he\n    conducted the Ninth for the first time. The concert in Moscow was attended\n    by Shostakovich and his friend Ivan Sollertinsky, Mahler’s first Russian\n    biographer, both of whom later joined Horenstein on the overnight train to\n    Leningrad for the Ninth. “I spent several hours in the dining car together\n    with Shostakovich and Sollertinsky discussing Mahler”, Horenstein told an\n    interviewer, “they attended my rehearsals and the concert of Mahler Nine\n    with the Leningrad Philharmonic.” According to Horenstein, by 1932\n    Shostakovich was already a devoted Mahlerian, an influence that later\n    became most evident in his Fifth Symphony of 1937 “which would not have\n    been possible without Mahler”, and an allegiance for which Horenstein took\n    some credit. “There is no doubt”, he said referring to his and Oskar\n    Fried’s championship of the cause in Russia, “that we influenced\n    Shostakovich through our performances of Mahler”, a declaration that adds\n    extra interest to the selection of items presented on this disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    There are several “firsts” associated with the present recordings from\n    April 1952. They were Horenstein’s first since 1929 and his first for Vox\n    Records, the label that so distinguished his career. It was also his first\n    post-war engagement with the Vienna Symphony, the orchestra with which he\n    had made his professional debut in 1922 but had not conducted since 1928, a\n    life-changing generation away. Also a first as far as is known, the\n    publication of Mahler’s Ninth was the first studio recording of the work to\n    be released commercially, and with almost no serious competition for\n    several years served as the entry point to the symphony, and to the\n    composer, for many of the post-war baby-boomer generation.\n\u003c\/p\u003e\n\u003cp\u003e\n    Horenstein’s broad, romantic view of the Ninth Symphony, a magisterial and\n    intensely emotional interpretation of the old-school type, is a synthesis\n    of expressive force and intellectual grasp. “One of the major recorded\n    Mahler Ninths”, opined the reviewer in \u003ci\u003eThe Gramophone \u003c\/i\u003esome forty years\n    after its first release, “a devastating, visionary statement, epic yet\n    intimate, that incorporates a deeply troubled first movement, a rustic\n\u003ci\u003e    Ländler\u003c\/i\u003e, a grimly emphatic \u003ci\u003eRondo Burleske\u003c\/i\u003e and a finale whose heartbreaking\n    fallibility not only transcends second-rate string playing but actually\n    seems nourished by it.” For another reviewer, in a comment that can be\n    taken as representative of a widely held opinion, the performance was “a\n    text-book example of how to conduct this symphony.” The recording, despite\n    its unsophisticated mono sound and some uncertain playing from an orchestra\n    still unfamiliar with Mahler’s idiom, has remained proudly and continuously\n    in the catalogues ever since its first release almost 70 years ago.\n\u003c\/p\u003e\n\u003cp\u003e\n    The same cannot be said of Shostakovich’s Fifth, recorded immediately\n    following the Mahler and only the second recording of that work to be\n    released commercially, which has largely disappeared from view, superseded\n    in public esteem by better played, better recorded and more extrovert\n    readings. The original Vox recording suffers from some of the same dry,\n    spotlit sonics and other technical defects as the Mahler, especially\n    noticeable in the muffled, sometimes inaudible sounds of the crucial\n    timpani and bass drum parts. These problems have been addressed and\n    partially resolved by the present restoration and do not seriously disturb\n    appreciation of a wonderful lucidity of line in the first movement, a\n    perfectly paced \u003ci\u003eScherzo\u003c\/i\u003e, an intensely moving slow movement and an energetic\n    but never hysterical finale.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eHORENSTEIN \u003c\/b\u003econduct Mahler \u0026amp; Shostakovich\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eDISC ONE\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9 in D major\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Andante comodo  (29:21)\u003cbr\u003e2. 2nd mvt. - Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb  (17:35)\u003cbr\u003e3. 3rd mvt. - Rondo-Burleske: Allegro assai. Sehr trotzig  (13:28)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDISC TWO\u003c\/span\u003e\u003cbr\u003e1. 4th mvt. - Adagio. Sehr langsam und noch zurückhaltend  (25:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7-11 April, 1952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47 \u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Moderato - Allegro non troppo  (15:20)\u003cbr\u003e3. 2nd mvt. - Allegretto  (5:04)\u003cbr\u003e4. 3rd mvt. - Largo  (15:22)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (9:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16-17 April, 1952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eVienna Symphony Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eJascha Horenstein\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein taken in 1956\u003cbr\u003eSpecial thanks to Misha Horenstein for his notes, assistance and access to the Horenstein musical archives from which this release derives\u003cbr\u003eRecorded at Symphonia Studio, Vienna\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 11:52  \u003cbr\u003eCD1: 60:23     CD2:  71:29  \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\/PASC649.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC649.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39529090940989,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205524242766,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205524275534,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC649_bc523f60-1fea-4535-bac4-3f2f61bee3b2.jpg?v=1639113305"},{"product_id":"pasc649-cd","title":"HORENSTEIN conducts Mahler \u0026 Shostakovich (1952) - 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