{"title":"Mozart","description":"Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era.\u003cbr\u003e\u003cbr\u003eBorn in Salzburg, he showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.\u003cbr\u003e\u003cbr\u003eThe circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.\u003cbr\u003e\u003cbr\u003eHe composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: \"posterity will not see such a talent again in 100 years\".","products":[{"product_id":"pacm003","title":"ROTH QUARTET Mozart: Quartet No. 18 in A, \"Drum\", K.464 (1935) - PACM003","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet No. 18 in A, \"Drum\", K.464\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1935\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 30'26\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Roth Quartet\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM003.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMozart's fifth \"Haydn Quartet\" in a classic 1934 recording\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\u003cb\u003eMozart\u003c\/b\u003e is not p\u003c\/span\u003e\u003cspan style=\"font-family: Georgia,Times New Roman,Times,serif;\"\u003earticularly\n well-remembered for his string quartets - a number of his early \ncompostions in this genre are at best undistinguished. However, \nfollowing the careful study of quartets by Haydn, Mozart went on to \nwrite a number of excellent works, six of which are known as the Haydn \nQuartets - this is the fifth, written in Vienna in January, 1785. \u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: Georgia,Times New Roman,Times,serif;\"\u003eIt was after hearing the latter three of the six that Haydn turned to Mozart's father, Leopold, and famously remarked: \"\u003cem\u003eBefore\n God, and as an honest man I tell you that your son is the greatest \ncomposer known to me either in person or by name. He has taste and, what\n it more, the most profound knowledge of composition.\u003c\/em\u003e\" The music \nyou'll hear by clicking on the play button demonstrates the drum-like \nrhythm used in the third movement from which the quartet gets its name.\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: Georgia,Times New Roman,Times,serif;\"\u003eThe \u003cb\u003eRoth String Quartet\u003c\/b\u003e\n (Roth, Antal, Molnar and Scholz) recorded 7 quartets for Columbia in \nthe mid-1930's, of which this was the only work by Mozart, issued in the\n Columbia Masterworks series. We can find no evidence of it ever having \nbeen reissued.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\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\u003cb\u003eMOZART \u003c\/b\u003eQuartet No. 18 in A, \"Drum\", K.464\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded July 5 - August 7, 1935, New York\u003cbr\u003eIssued as 4 UK Columbia 78s, LX 8231-LX 8234\u003cbr\u003e(Duration 30'26\")\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM003.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM003.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":31336012906557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31336012939325,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM003.jpg?v=1575541722"},{"product_id":"pacm012","title":"KELL Mozart: Clarinet Quintet (1945) - PACM012","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eClarinet Quintet in A major, KV581\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eAbbey Road Studio 3, London, 5-7 February, 1945\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration: 29:17\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eReginald Kell, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eclarinet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philharmonia Quartet:\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHenry Holst, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnest Element, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert Downes, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnthony Pini, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM012.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eReginald Kell's masterful Mozart Clarinet Quintet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eWith the Philharmonia Quartet, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cspan style=\"color: #000066; font-family: arial,helvetica,sans-serif;\"\u003e\"Like\n the great Clarinet Concerto, this work was written for the Viennese \nclarinettist Anton Stadler; it has always been regarded as one of the \nflowers of the chamber music repertory. Many people have been led to \nexplore the great world of chamber music through this gate; it is \ndifficult to imagine a listener who could remain deaf to a flow of \nmelody so limpid and serene. The charms of the clarinet - its \nincomparably gentle legato, its agility, its sudden plunges down two \noctaves into a deep, brown pool - all are exhibited by \u003cb\u003eMozart\u003c\/b\u003e as though the instrument were a beautiful woman with whom he had just fallen in love.\"\u003c\/span\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"color: #000066; font-family: arial,helvetica,sans-serif;\"\u003e(The Record Guide, 1952)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003e\u003cb\u003eReginald Kell\u003c\/b\u003e\n (1906-81) was one of Britains finest clarinettists, and in this 1945 \nrecording, made on 5th and 7th February of that year, we find him on top\n form in one of the greatest works for that instrument. \"\u003cem\u003eNo other clarinetist can match Mr. Kell's tone \u0026amp; emotion\u003c\/em\u003e\", wrote \u003cem\u003eStereo Review\u003c\/em\u003e about him - as this newly XR-remastered gem proves!\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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\u003cb\u003eMOZART \u003c\/b\u003eClarinet Quintet in A major, KV581\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \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\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 5-7 February, 1945\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e Originally released in the UK as four Columbia 78s, DX.1187-1190\u003cbr\u003eMatrix numbers: AX9242-1, AX9243-I, AX9244-2, AX9245-1,AX9246-1, AX9247-1, AX9248-1, AX9249-2\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003cb\u003eReginald Kell, \u003c\/b\u003eclarinet\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe Philharmonia Quartet:\u003cb\u003e\u003cbr\u003eHenry Holst, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eErnest Element\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eHerbert Downes\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eAnthony Pini\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM012.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM012.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":31418125005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418125069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM012.jpg?v=1487682287"},{"product_id":"pasc409","title":"BEECHAM conducts Mozart, Volume 1 (1915-54) - PASC409","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonies 31, 35, 36\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eComplete Beecham Acoustic Recordings, 1915-1917\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1915-1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:54\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBeecham Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHere, then, is one of the great Mozarteans...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis CD represents Volume One of the \nColumbia Mozart symphonies Thomas Beecham recorded in the studio with \nthe Royal Philharmonic between 1951 and 1954. It also contains the two \novertures and several snippets captured acoustically with the Beecham \nSymphony Orchestra in 1915—all restored at Pristine with Andrew Rose’s \ncustomary wizardry. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSir Thomas’ approach to Mozart lies well within memory of many \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n readers. Yet it reaches us now almost as a voice from an unrecoverable \npast. These are big, full-orchestra readings of Mozart, played with \nunashamed sentiment. Beecham seeks to ravish us in ways far beyond the \nclear-stream math of HIP revisionist thinking. Sixty or 70 years ago \nthat was the norm: Romantic Mozart delivered to us by the likes of Bruno\n Walter, Otto Klemperer, and Wilhelm Furtwängler. There is a tendency to\n flatten perspective on this vanished world over time, to regard “big \norchestra” Mozart as having been all of a piece in its day. But of \ncourse, it wasn’t. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKlemperer’s approach, for instance, \nconveyed a powerful solidity. Bruno Walter, also nearly Brahmsian in \nMozart, was known for his “plastic phrasing.” And Furtwängler’s Mozart \ncould easily convince you that Wagner was just around the corner. But \nSir Thomas’s approach had a special quality of lightness and grace. He \nseemed to balance an orchestra from the top down. And it is no accident \nthat Beecham was famous for bringing out the subtleties of French music.\n His sheer deftness stands out. The music just skates along here, light \nas a feather. It conveys an airy, almost ecstatic exhilaration you won’t\n find elsewhere. Indeed, I’d say Beecham’s approach represents Mozart \nconducted as though it were Mendelssohn. With all the pretty cadence \nritards and delicate tempo adjustment, there is no heaviness. The \ntimpani-led punchiness of current-day Mozart is completely missing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose is to be congratulated once\n again for bringing extra life to the never stellar-sounding original \nLPs. He has managed to include so much out-of-phase rear channel \nmaterial in his remastering that I mistook the performances for being in\n stereo at first. The result is extremely listenable. And his efforts \nwith the acoustic items are similar. There is, amazingly, real air and \nback channel surround to be found in the horn recordings. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMagic Flute \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n comes through especially well. Despite limitations, one can sense that \nthe Beecham Symphony Orchestra was very fine, indeed. The violin passage\n work is quite lovely, though the use of portamento, especially \nupward-swooping portamento, sounds a bit kitschy and “home sweet \nhome-ish.” But you recognize the same subtle traits in early Beecham as \nlater. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHere, then, is one of the great \nMozarteans, brought to us at the beginning and near the end of his \ncareer. I, for one, am extremely appreciative. Windows on the past \naren’t made from today’s tempered glass. They inherently distort, \nrefract, and contain areas of opacity, just where you wish for clarity. \nBut Andrew Rose has done all that is humanly possible to polish the \nsurfaces. And his vision is now the effective catalyst to our own. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\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\/PASC409.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - the 1950s Columbia recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst of three volumes, supplemented with his complete Columbia acoustic Mozart recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAll but one of Beecham's early acoustic Mozart recordings was made \nfor Columbia, and it was to the American company of the same name that \nhe returned in the early 1950s to record a series of seven Mozart \nsymphonies with another of his \"own\" orchestras, the Royal Philharmonic.\n The symphonies have been in and out of print since then, and their \noriginal, somewhat harsh sound quality to an extent masked their \nexquisite brilliance. Despite this, they have always been highly \nregarded, and it can only be hoped that these new transfers and XR \nremastering will further enhance their reputation.\u003c\/p\u003e\u003cp\u003eBut that's not to overlook his earliest Mozart recordings (a single \nside cut for Odeon in 1912 will appear on a later volume here), made \nwith an orchestra that some rated as the finest he ever conducted. \nAgain, XR remastering has helped bring these primitive horn-based sound \nrecordings just a small step closer to the modern listener's \nappreciation - and very fine they are too.\u003c\/p\u003e\u003cp\u003eThe rare acoustic recordings were sourced from existing vinyl \ntransfers, including a \"private\" box set from the 1970s, WHS 102\/4. It \nis from notes enclosed here that the archive review for this release was\n derived - I could find no reviews when searching in the Gramophone and \nFanfare archives of any of Beecham's 1950s Columbia symphony recordings.\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 31 \"Paris\"\u003cbr\u003eColumbia ML-4474\u003cbr\u003eRecorded Kingsway Hall, London, 9 March 1951\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 35 \"Haffner\"\u003cbr\u003eColumbia ML-5001\u003cbr\u003eRecorded Walthamstow Assembly Hall, 7 December 1953\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 36 \"Linz\"\u003cbr\u003eColumbia ML-5001\u003cbr\u003eRecorded Walthamstow Assembly Hall, 1 May 1954\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Magic Flute: Overture\u003cbr\u003eColumbia L-1001\u003cbr\u003eMatrix Nos. 6559\/60, recorded 1915\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento in D major, K.131, 5th mvt. \u003cbr\u003eColumbia L-1132\u003cbr\u003eMatrix Nos. 6904, recorded 1916\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Overture \u003cbr\u003eColumbia L-1115\u003cbr\u003eMatrix Nos. 6908, recorded 1916\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Sarabande\u003cbr\u003eColumbia L-1227\u003cbr\u003eMatrix Nos. 76037, recorded 1917\u003cbr\u003eN.B. This is in fact the Fandango music from the end of Act 3 \u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBeecham Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC409.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC409.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":31975220365,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975220429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975220493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975220557,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC409_8d1d4781-27a5-4351-9f70-63b8cbf92fcc.jpg?v=1487681876"},{"product_id":"pasc413","title":"BEECHAM conducts Mozart, Volume 2 (1950\/55) - PASC413","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonies 38, 39\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDivertimento No. 2\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1950\/55\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:40\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeecham moves the rising and falling scales with bustling aplomb, the individual colors never once sacrificed while he maintains a luxurious fleetness of execution578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAudio engineer and producer Andrew Rose resurrects a trio of classic \nBeecham renditions of Mozart the conductor inscribed for both Columbia \nand HMV, 1950 and 1955. Many a collector of the old CBS LPs will recall \nhis fondness for ML 4313 (rec. 18 April 1950), the “Prague” Symphony as \nled by a virile Beecham with the Royal Philharmonic, a full-blooded \naccount whose sound now has the benefit of having had its formerly \nsonorities softened enough for us to savor he wit and robust accents \nBeecham intended.  The Beecham approach to Mozart does not aim for its \nViennese charm, even if it be transposed to the Czech capital which \ngreeted Mozart in 1787 with unabashed affection.  Beecham’s opening \nmovement communicates – in the course of four \u003ci\u003ethemes\u003c\/i\u003e spread over 30 \u003ci\u003emeasures\u003c\/i\u003e\n – a regal pomp and ceremonial verve in its trumpets and drums, as \nthough the spirit of Haydn were nigh, with energetic resonance in the \nplastic \u003ci\u003esyncopations\u003c\/i\u003e and \u003ci\u003ecounterpoints.\u003c\/i\u003e Robustly fervent, a\n spirit of breathless invention and exalted buoyancy permeates the \nplaying, inspired and thrilling alert, at once.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe extraordinary \u003ci\u003eAndante \u003c\/i\u003edemands we attend the exotic colors and shadowy \u003ci\u003eharmonies\u003c\/i\u003e, especially in the RPO woodwinds as they progress over low strings. The \u003ci\u003echromatic line\u003c\/i\u003e of the strings has sinew and erotic beauty, the music sighing \u003ci\u003econtrapuntally\u003c\/i\u003e and then becoming decisively and even morbidly martial in spirit.  The vivid colloquy in the winds often moves into the \u003ci\u003eminor mode\u003c\/i\u003e\n with an almost Baroque sense of anguish, yet the effect remains \nelegantly noble. The hectic last movement challenges any ensemble for \nclarity and dexterity simultaneously; even Leopold Mozart admonished his\n son’s testing of the Prague players. The RPO bassoon has as much of a \nworkout as the more exposed, \u003ci\u003ehigher register\u003c\/i\u003e players. The \nexplosive and aerial acrobatics move with lithe grace under Beecham, \nplayful but always deftly athletic, a performance with meat!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham originally recorded the 1788 \u003ci\u003eSymphony No. 39\u003c\/i\u003e on 22 \nOctober 1955 for CBS (ML 5194). Mozart seems to have conceived the work \nas a constant fusion of polar energies, with melodies that often divide \nthe emergent line among various instruments, like the clarinet. The \ndotted rhythms and ceremonial splendors of the opening \u003ci\u003eAdagio – Allegro\u003c\/i\u003e yield to a series of plaintive melodies that indulge the violins’ E strings. The strings execute \u003ci\u003erocket figures\u003c\/i\u003e as well as \u003ci\u003epizzicato\u003c\/i\u003e magic, and the RPO horns have rarely sounded so opulent. The \u003ci\u003eA-flat Major Andante con moto \u003c\/i\u003eextends\n the stately gravitas of the opening of the first movement, offering a \ndarkly colored line that becomes mordant and emotionally troubled. When \nthe full body of strings exults in tandem with the woodwinds, the effect\n haunts the imagination.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFew \u003ci\u003eMenuetto and Trio\u003c\/i\u003e movements communicate as much raw power \nas Mozart’s here in this work. Furtwaengler’s Berlin recording remains \nthe most potently tragic and militant reading I know, quite belying the \u003ci\u003elaendler \u003c\/i\u003echaracter\n of the original folk dance. Beecham’s realization enjoys a healthy \nswagger and estimable sense of bright purpose. The punctuated winds and \nhorns demand our admiration. The\u003ci\u003e Trio\u003c\/i\u003e adds a second \u003ci\u003echalumeau clarinet\u003c\/i\u003e to the texture, and over the pulsating strings Beecham injects an air of bucolic mystery. The 2\/4 \u003ci\u003eAllegro\u003c\/i\u003e\n finale proves another galloping example of Beecham’s virtuoso orchestra\n in delighted, delightful throttle, with exuberant chirps from bassoon \nand comrade woodwinds. Beecham moves the rising and falling \u003ci\u003escales\u003c\/i\u003e with bustling aplomb, the individual colors never once sacrificed while he maintains a luxurious fleetness of execution.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham inscribed the 1772 \u003ci\u003eDivertimento No. 2\u003c\/i\u003e fro HMV on 22 December 1955.  The piece would qualify as a \u003ci\u003eserenade\u003c\/i\u003e,\n except it calls for four horns and possesses a ceremonial slow movement\n that may have been intended for a wedding. Beecham’s entire concept \nhere waxes frothy and bountiful of sound, especially in his wind, \nstring, and horn parts. The \u003ci\u003eAdagio\u003c\/i\u003e plays as a true love song.  \nEvery bar indulges itself in the finesse and stylish elegance of a \nrefined taste. As one reviewer for \u003ci\u003eThe Gramophone\u003c\/i\u003e stated in 1968:\n “Anyone who doesn’t delight in Beecham’s incomparably stylish way with \nit, as well as in the superb playing. . .well, I am sorry for him!”  So,\n save yourself the pity and purchase this exemplary restoration.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"http:\/\/www.audaud.com\/beecham-conducts-mozart-symphonies-vol-2-mozart-symphony-no-38-in-d-major-prague-symphony-no-39-in-e-flat-major-divertimento-no-2-in-d-major-royal-philharmonic-o\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC413.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - Volume 2\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“These\n 1950s recordings remind us what a passionate Mozartian Beecham was. \nPristine has refreshed the sound expertly” - The Sunday Times, 2014\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe symphony recordings here were both made for US Columbia LP \nreleases. In both cases the works had been recorded with Beecham's \nprevious orchestra, the London Philharmonic, for EMI 78rpm release in \nMarch 1940, but in both cases these are the only studio recordings he \nmade to tape, and the only recordings made with the Royal Philharmonic \nof the two symphonies. Both were issued later in Europe on Philips and \nits subsidiary label, \u003cem\u003eFonata\u003c\/em\u003e, from which the present transfers \nwere drawn. Recording quality, post-XR remastering, turns out to have \nbeen remarkably and consistently good, albeit in mono for both \nrecordings - the originals prior to this remastering being somewhat \nharsh in reproduction, particularly the 1950 recording of the 38th \nSymphony.\u003c\/p\u003e\n\u003cp\u003eBy contrast the \u003cem\u003eDivertimento\u003c\/em\u003e, made by EMI in the most \ncontrolled conditions of Abbey Road studios required less XR adjustment \nto bring out its magic. The recording does, however, raise some \nquestions to which I, at the time of writing, can offer only speculative\n answers. The recording originally appeared on a mono LP, alongside a \n1957 recording of the \u003cem\u003eJupiter\u003c\/em\u003e Symphony. Its reissue in 1968 was, likewise, mono, but a recent CD issue on EMI is in full stereo.\u003c\/p\u003e\n\u003cp\u003eA careful examination of the mono and stereo issues reveals a number \nof differences, but at the same time a number of clear similarities. At \ntimes one is convinced they are the same recording - elsewhere the \nplaying is clearly different, if only slightly. I can only conclude that\n the recording sessions were captured both in mono and stereo separately\n (this being a time when stereo recording was still in an experimental \nstage). The mono tapes would have been edited for release, as is normal,\n but when EMI returned to the stereo tapes for their recent reissue, \neither by accident or by design they produced a different edit, using \nsome of the same and some alternate takes by comparison to the original \nmono master approved by Beecham, which appears here. A careful \nexamination will reveal considerable timing differences in some \nmovements between the two versions.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\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\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 38 in D, K.504, \"Prague\" \u003cbr\u003eColumbia ML-4313\u003cbr\u003eRecorded Kingsway Hall, London, 18 April 1950\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 39 in E flat, K.543 \u003cbr\u003eColumbia ML-5194\u003cbr\u003eRecorded Walthamstow Assembly Hall, 22 October 1955\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento No. 2 in D, K.131 \u003cbr\u003eHMV ALP.1536\u003cbr\u003eRecorded Abbey Road Studio 1, 22 December 1955\u003cbr\u003eOriginal mono edit (see programme notes)\u003cbr\u003eNB. Beecham omits the 3rd movement\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\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\/PASC413.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC413.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":31975220685,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975220749,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975220813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975220877,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC413_4a49b11a-df10-48ba-9c4d-3fef707550b9.jpg?v=1487681878"},{"product_id":"pasc415","title":"BEECHAM conducts Mozart, Volume 3 (1912-58) - PASC415","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonies 40, 41\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eBassoon Concerto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Marriage of Figaro: Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1912-1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eProducer and XR Remastering: Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:28 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGwydion Brooke\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, bassoon \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt always is vibrant and energizing, but never with a lack of feeling for color and nuance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAt the lunch held for Thomas \nBeecham’s 70th birthday, congratulatory telegrams—including some from \ncomposers—were read to him. When the applause died down, Beecham asked \ngently, “Nothing from Mozart?” For all of Beecham’s renown as a \nconductor of Delius and Handel, Mozart was central to his repertory. \nIndeed, Beecham explored the heights and depths of Mozart, and Mozart in\n turn gave Beecham the most comprehensive avenue for displaying his \nartistry. Beecham said that Mozart introduced into music “an intimacy, a\n masculine tenderness, unique—something confiding, affectionate.” \nBeneath the conductor’s brilliant exterior, this was a quality Beecham \nshared with the composer, endearing him to his players and audiences. \nBeecham was one of the few conductors of his time to program large \namounts of Mozart’s orchestral music, and, of that time, he presented \nMozart with a full orchestra and a large sound, although never with \nsentimentality. He was noted for meticulously placing marks for \nexpression in his players’ parts, so it is not surprising that, \nparticularly in the two symphonies on this CD, one can hear an attention\n to detail rare in recordings of these works from any era. Beecham \nquipped that “a fine performance” required “the maximum of virility \ncoupled with the maximum of delicacy.” The bawdy overtone \nnotwithstanding, there is truth in this remark for Beecham’s Mozart. It \nalways is vibrant and energizing, but never with a lack of feeling for \ncolor and nuance. For better or worse, it sounds like no one else’s \nMozart. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBeecham starts the 40th Symphony at a \nquicker tempo than many of his contemporaries did. One immediately is \nstruck by the orchestral sound’s beauty, as is true throughout both \nsymphonies. A member of the Cleveland Orchestra commented on the \nsimplicity of Beecham’s gestures in Mozart, which must have contributed \nto the gorgeous tone. The urgency of the RPO’s playing helps accentuate \nthe first movement’s tragic sense. Beecham gives the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emuch\n room to breathe. It is full of the “masculine tenderness” Beecham \ndescribes. In the third movement, the orchestra’s sound, with its tragic\n nature, has overtones of Gluck. The trio, to use Beecham’s term, is \n“confiding.” The final movement features despair matched with \nexhilaration. The “Jupiter” on this CD is Beecham’s 1950 mono version, \nnot his stereo remake. Its opening movement is lively, noble, and \nmajestic. The slow movement is truly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with beautifully flowing, singing phrases. The whole has a domestic \nfeeling, as if depicting Wolfgang alone with Constanze. A mixture of \npomp and gentleness informs the third movement. The last movement is \noperatic in its scope and its multiplicity of gestures. It is of a piece\n with the ensemble that closes \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Giovanni\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Beecham’s (and Mozart’s) zest for life is readily apparent. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe bassoon concerto receives the only\n stereo recording on the CD. Gwydion Brooke is a rich-toned and nimble \nsoloist, with a distinctive sound. The uncredited cadenzas he uses play \nto the instrument’s gnomic quality. Beecham is a warm and sympathetic \ncolleague. The 1912 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFigaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eoverture,\n featuring the legendary Beecham Symphony Orchestra, demonstrates that \nBeecham at age 33 already possessed the drive, wit, and elegance that \nwould characterize his whole career. Andrew Rose has done wonders \nremastering the two symphonies, which are in full-toned and beautifully \nbalanced mono, while his version of the concerto represents the Abbey \nRoad studio at its finest. He also has coaxed a highly listenable sound \nout of the 1912 acoustic overture. If you are looking for stereo CDs of \nthe two symphonies, I would recommend Jeffrey Tate and Yehudi Menuhin. \nBeecham, however, is a law unto himself and deeply inspired. Perhaps we \nshould give the conductor the last word. When Fritz Reiner came \nbackstage to congratulate the conductor “on a wonderful evening of \nBeecham and Mozart,” Beecham replied, “Why drag Mozart into it?” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC415.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - the 1950s Columbia recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThird of three volumes, plus the Bassoon Concerto and Beecham's very first, 1912 Mozart recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs with previous issues in this series, the symphony recordings here \nwere made for American releases on the US Columbia label, which had long\n since cut its ties with its British namesake. Yet, unlike several of \nthe Mozart symphony recordings Beecham made for US Columbia it was \nissued in the UK on EMI's Columbia subsidiary, which at the time was \nstill a 78rpm-only operation. It is one of the few of this series that \nBeecham returned to EMI's Abbey Road studios later that decade to \nremake, the Columbia recordings having taken place in London's Kingsway \nHall. The 1954 recording of the 40th Symphony, by contrast, found its \nBritish issue on the Philips label, two years after its recording. \nBeecham had previously recorded it with the London Philharmonic for EMI \nin 1937; this is his only other studio recording.\u003c\/p\u003e\n\u003cp\u003eThe two other recordings presented here almost serve to bookend the \nconductor's recorded career. The Bassoon Concerto was originally issued \nas a mono LP but was also recorded in stereo, and this is the version \npresented here from December 1958, and a very good hi-fi recording it is\n too; where the symphonies needed quite a lot of resurrecting, this was \ngenerally fine. By contrast, the 1912 recording of the overture to \nFigaro was his first outing with Mozart and from his second stint in the\n recording studio, having cut seven sides in 1910. This acoustic \nrecording has been significantly updated in this XR remastering.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFull Track Listing\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 40 in G minor, K.550\u003cbr\u003eColumbia ML-5194\u003cbr\u003eRecorded Walthamstow Assembly Hall, 26 April 1954\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 41 in C major, K.551, \"Jupiter\"\u003cbr\u003eColumbia ML-4313\u003cbr\u003eRecorded Kingsway Hall, London, 22 February 1950\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Bassoon Concerto in B flat major, K.191\u003cbr\u003eHMV ALP.1768, ASD.322\u003cbr\u003eRecorded Abbey Road Studio 1, 18 December 1958\u003cbr\u003eA stereo recording\u003cbr\u003e\u003cb\u003eGwydion Brooke\u003c\/b\u003e, bassoon \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Overture\u003cbr\u003eOdeon X-84\u003cbr\u003eMatrix number 76212, Lxx 3677\u003cbr\u003eRecorded c. 1912\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBeecham Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC415.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC415.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":31975223373,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975223437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975223501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC415_00e0988e-95e8-4da2-8bb3-01349df0febe.jpg?v=1487681881"},{"product_id":"paco045","title":"BEECHAM Mozart: Die Zauberflöte (1937-38) - PACO045","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e \u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Zauberflöte (The Magic Flute)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording from 1937-8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 10:01\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eFavres Solisten Vereinigung\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Sir Thomas Beecham\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhat I had forgotten was the weightiness of Beecham’s reading. The powerful first chord rings out with almost Wagnerian solemnity578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eWe have come to expect impressive sound from Andrew Rose’s \n                  XR re-mastering and he has ensured both clarity and dynamic \n                  power. I haven’t listened to this set for quite some time \n                  - not since the LP era in fact although I have heard some re-mastered \n                  excerpts, but I wasn’t prepared for such ‘modern’ \n                  sound. Without knowing the origin I would have guessed it was \n                  a good mono recording from the 1950s. So on these grounds alone \n                  this set can be heartily recommended to all lovers of \u003ci\u003eDie \n                  Zauberflöte\u003c\/i\u003e. Keep in mind, though, that it was recorded \n                  without the spoken dialogue. This means that the individual \n                  numbers come in quick succession, very much as they wound do \n                  on a highlights disc. \u003cbr\u003e\n                    \u003cbr\u003e\n                  What I had forgotten was the weightiness of Beecham’s \n                  reading. The powerful first chord rings out with almost Wagnerian \n                  solemnity and this is an impression that prevails throughout \n                  the overture. Even the quick second half has more dramatic weight \n                  than Singspiel jollity. \u003cbr\u003e\n                    \u003cbr\u003e\n                  This impression is reinforced when we are confronted with Helge \n                  Roswaenge’s Tamino. Roswaenge was known more for his brilliant \n                  top notes and dramatic heft than lyrical flexibility and elegance. \n                  Here one associates the results more readily with Wagnerian \n                  effortfulness than Mozartean warmth. He is closer in approach \n                  to Siegfried than to Tamino. I must qualify this verdict to \n                  some extent. In \u003ci\u003eDies Bildnis ist bezaubernd schön\u003c\/i\u003e \n                  he is more nuanced and actually quite lovable. Maybe he was \n                  inspired by Gerhard Hüsch’s famous reading of Papageno \n                  and his interpretation of \u003ci\u003eDer Vogelfänger bin ich ja\u003c\/i\u003e, \n                  which was heard just before the Tamino aria. Listening closely \n                  to Hüsch I have to admit that there are baritones from \n                  more modern times who have imbued the aria with greater spirit \n                  and\/or elegance. Dietrich Fischer-Dieskau and Walter Berry are \n                  two singers who, in their contrasting ways, have come closer \n                  to the character. Hüsch feels ‘every-day-penny-plain’. \n                  He is much better later on in the opera and in particular in \n                  \u003ci\u003eEin Mädchen oder Weibchen\u003c\/i\u003e, where his Lieder singer \n                  experience and care for words is a great asset. And the suicide \n                  scene is deeply moving. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Erna Berger was also a quite successful Lieder singer towards \n                  the end of her career in the 1950s. I still treasure a couple \n                  of Deutsche Grammophon LPs with her. More than fifteen years \n                  before that she was a brilliant Queen of the Night. In her first \n                  aria she also displays a warmth that makes ‘die sternflammende \n                  Königin’ more human. Her runs are occasionally smudged \n                  and a couple of her top notes are slightly out of pitch. This \n                  is however a worthy reading of this exacting aria and \u003ci\u003eDer \n                  Hölle Rache\u003c\/i\u003e in the second act is sung with awesome \n                  accuracy. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Tiana Lemnitz is a lovely Pamina, some scooping apart. The duet \n                  with Papageno\u003ci\u003eBei Männern\u003c\/i\u003e is one of the highlights \n                  of the recording and her aria \u003ci\u003eAch, ich fühl’s\u003c\/i\u003e \n                  is lovely and sensitive. Wilhelm Strientz is a lightweight Sarastro \n                  but sings with great warmth and has the required low notes. \n                  Both his arias are good. His legato in \u003ci\u003eIn diesen heil’gen \n                  Hallen\u003c\/i\u003e is admirable - and so is his diction. Walter Grossmann \n                  is a warm and fatherly Speaker and in the musically remarkable \n                  confrontation scene between him and Tamino, Roswaenge is at \n                  his most heroic with biting defiance. Heinrich Tessmer is a \n                  splendid Monostatos. \u003cbr\u003e\n                    \u003cbr\u003e\n                  I find that Pamina and Tamino are a curiously mismatched couple \n                  - especially in the \u003ci\u003eDer, welche wandelt\u003c\/i\u003e scene: she delightful \n                  as a lily, he knotty as an oak-tree. \u003cbr\u003e\n                    \u003cbr\u003e\n                  In spite of some misgivings this is still a desirable recording. \n                  When it was new, more than seventy years ago, it must have been \n                  a revelation to many. Berger, Lemnitz and Hüsch can stand \n                  comparison with some of the best singers on modern sets and \n                  most of the others are more than acceptable. \u003cbr\u003e\n                    \u003cbr\u003e\n                  For a comparable modern recording without spoken dialogue, Klemperer \n                  is a first recommendation with Gundula Janowith (Pamina), Lucia \n                  Popp (Queen of the Night) in her first recording, Nicolai Gedda \n                  (Tamino), Walter Berry (Papageno) and Gottlob Frick (Sarastro). \n                  Elisabeth Schwarzkopf and Christa Ludwig are luxury casting \n                  as First and Second Ladies. For complete recordings with dialogue \n                  Karl Böhm’s DG set, roughly contemporaneous with \n                  Klemperer, is still my favourite: Fritz Wunderlich (Tamino), \n                  Dietrich Fischer-Dieskau (Papageno), Franz Crass (Sarastro) \n                  and Hans Hotter (Speaker) are top contenders. Evelyn Lear (Pamina) \n                  and Roberta Peters (Queen of the Night) are not quite in their \n                  league. I also have a soft spot for the Wolfgang Sawallisch \n                  version. With remarkably refurbished sound this Beecham set \n                  should find an honoured place as an historic alternative in \n                  many a collection. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eGöran Forsling\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO045.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBeecham's original and - for some - still the best Zauberflöte\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNow in superb XR-remastered sound quality in this new transfer\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003eThis, the first 'full' recording of Mozart's \u003cem\u003eDie Zauberflöte\u003c\/em\u003e,\n was originally planned as a Glyndebourne recording under Fritz Busch, \nas with the previous three instalments of HMV's Mozart Opera Society \nseries. When the recording, planned for summer 1937, was abruptly \ncancelled, there was some surprise in the Glydebourne camp – surprise \nwhich must have turned to considerable annoyance when the reason became \nclear: producer Walter Legge had lined up Sir Thomas Beecham and a \ntop-line cast and orchestra in Berlin instead. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eGlyndebourne's loss, however, was our gain, and this \nproduction continues to set a benchmark to this day. It's no surprise, \ntherefore, that of the commercial recordings of the era it's been one of\n the most-requested for the Pristine XR treatment, despite its continued\n availability on a number of other releases and transfers.\u003c\/p\u003e\u003cp class=\"body\"\u003eHow does this transfer stack up against the competition?\n Well I admit I've not heard them all - and of course I'm biased (which \nis why there's a lengthy sample on this page). By comparison to the EMI \nCD issue the sound is much fuller, immediate and open - the slightly \nlower background noise from the EMI issue can be at least partially \naccounted for by the myriad missing frequencies. The Nimbus issue - on \nthe basis of the one track I've compared - is distant, almost \nacoustic-sounding, and dreadfully crackly, as if from an entirely \ndifferent era. I actually used Mark Obert-Thorn's 2001 Naxos transfer as\n a tming reference for side changes and make no apologies for \nshamelessly stealing his track mark points. But the last decade has seen\n dramatic strides forward in remastering technology, and he'd be the \nfirst to expect some improvement over what was possible when his \ntransfer was carried out:\u003c\/p\u003e\u003cp class=\"body\"\u003eXR remastering has done much both to bring more \nimmediacy and realism to the orchestra and singers, and to open out the \nupper end harmonics previously rolled off into the noise of the \nrecording as was the case with all commercial issues of the period. \nLower overall noise levels have been achieved, too, though I've used as \nlight a touch as I could with noise reduction in order to preserve as \nmuch fine musical detail as possible. Pushing the noise reduction any \nfurther began to suck life out of the recording – including the life \nwhich had only just been restored to it.\u003c\/p\u003e\u003cp class=\"body\"\u003eI used two sets of discs to put this together, both in \nnear-mint condition. The second set stood in where transportation and \nstorage had caused irreparable damage to the shellac of the primary set \n(a snapped disc is a snapped disc...) – both sets delivered excellent \ntransfers. Swish was evident through a good number of the 37 sides but \nhas generally been straightforward to treat.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn 1938 the Gramophone reviewer characterised the \noriginal release as being well worth waiting for - \"better late than \nnever\" was the headline. For those who wrote asking for me to restore \nthis recording, I hope the same can be said of this issue today. Take a \nlisten to our extended sample and hear for yourself – I think it's all \ncome out rather well.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eMOZART \u003c\/b\u003e- Die Zauberflöte, K620\u003cbr\u003e \u003cbr\u003e \u003cb\u003eHelge Roswaenge\u003c\/b\u003e (tenor) - Tamino\u003cbr\u003e \u003cb\u003eTiana Lemnitz\u003c\/b\u003e (soprano) - Pamina\u003cbr\u003e \u003cb\u003eGerhard Hüsch\u003c\/b\u003e (baritone) - Papageno\u003cbr\u003e \u003cb\u003eIrma Beilke\u003c\/b\u003e (soprano) - Papagena\/Old Woman\/First Boy\u003cbr\u003e \u003cb\u003eWilhelm Strienz \u003c\/b\u003e(bass) - Sarastro\u003cbr\u003e \u003cb\u003eErna Berger \u003c\/b\u003e(soprano) - Queen of the Night\u003cbr\u003e \u003cb\u003eHeinrich Tessmer \u003c\/b\u003e(tenor) - Monostatos the Moor\/First Man in Armour\u003cbr\u003e \u003cb\u003eHilde Scheppan\u003c\/b\u003e (soprano) - First Lady\u003cbr\u003e \u003cb\u003eElfriede Marherr\u003c\/b\u003e (soprano) - Second Lady\u003cbr\u003e \u003cb\u003eRut Berglund \u003c\/b\u003e(contralto) - Third Lady\/Third Boy\u003cbr\u003e \u003cb\u003eCarla Spletter \u003c\/b\u003e(soprano) - Second Boy\u003cbr\u003e \u003cb\u003eWalter Grossman\u003c\/b\u003e (bass) - Speaker\/Second Man in Armour\u003cbr\u003e \u003cb\u003eErnst Fabbry\u003c\/b\u003e (tenor) - Priest\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cb\u003eFavres Solisten Vereinigung \u003cbr\u003e Berlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e conducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eSource information:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded Beethovensaal, Berlin, 8-10, 12, 13, 15 November 1937 \u0026amp; 24 February, 2, 8 March, 1938. \u003cbr\u003e Original HMV recording produced by Walter Legge, engineered by Robert Beckett.\u003cbr\u003e Transfers from HMV Mozart Opera Society 78rpm discs in the Pristine Audio collection by Andrew Rose.\u003cbr\u003e Catalogue numbers: DB.8475-8493 Matrix numbers 2RA2416-2439; 2447-2459\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\/PACO045.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO045.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\"Technically, the recordings leave little or \nnothing to be desired the former high standard is maintained. Voices are\n well-balanced against each other and against the orchestra and details \nare commendably clear....\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe Queen of Night requires a faultless \ncoloratura technique combined with the vocal gifts of a dramatic \nsoprano. This dual qualification makes it difficult to find really \nsatisfactory artists for the part. Erna Berger is a success....\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eOf the male artists, Gerhard Hüsch stands out as \nan admirable Papagcno, giving due weight to the meaning of every phrase \nhe utters and maintaining a uniformly high vocal standard....\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe excellence of the duets and ensembles is very\n gratifying and calls for praise not only for the major principals, but \nfor the artists who undertook the parts of the three ladies, the three \nboys, the men in armour, etc.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThat The Magic Flute is extremely popular is \nevident from the large number of advance orders received for this \nrecording of it. Those who have an affection for the work need have no \nhesitation in subscribing for these records. The latest issue of The \nMozart Society is a worthy recording of a worthy performance and one \nthat does credit to all concerned in its production.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFrom first review in \u003cb\u003eThe Gramophone\u003c\/b\u003e, July 1938, by H. F. V. L.\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":"Mono 24-bit FLAC","offer_id":39082748493,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":39082748557,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":39082748621,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":39082748685,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO045_ff50a791-c126-4319-a080-1fe4df075ec3.jpg?v=1496844594"},{"product_id":"paco076","title":"BEECHAM Mozart: Requiem; Schubert: Symphony No. 5 (1954-59) - PACO076","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem in D minor, K.626\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5 in B flat major, D485\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1954-1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:52\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eElsie Morison \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMonica Sinclair \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlexander Young \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarian Nowakowski \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eBBC Chorus, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003edir.\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Leslie Woodgate\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Schubert is one of those works that brought out the charm in Sir Thomas’s music-making; the Mozart shows his serious side, as well as his willingness to tinker with a score578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere are two Beecham classics from the \n1950s: the mono Mozart Requiem of 1954–56 and the early stereo Schubert \nFifth from 1958–59. The Mozart is transferred from a copy of the English\n Fontana LP, the Schubert from the stereo LP on HMV Concert Classics, a \nbudget reissue line. (Fontana, which reissue producer Andrew Rose \ninsists on spelling “Fonata,” was a low-priced imprint of English \nPhilips, which had the U.K. rights to the recordings Beecham made for \nAmerican Columbia.) The Schubert is one of those works that brought out \nthe charm in Sir Thomas’s music-making; the Mozart shows his serious \nside, as well as his willingness to tinker with a score, although so \nmuch is speculative regarding what some like to call “the text” of this \nwork that this is not the heretical act it might be in, say, the \n“Jupiter” Symphony. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSince these recordings are well known \nto Beecham collectors, I will direct most of my observations to the \nsound of this reissue. I compared Rose’s transfer of the Mozart with my \ncopy of the original Columbia LP. As Rose claims in his “Transfer \nNotes,” his XR process (about the technical workings of which I admit my\n ignorance) brings out the sound of the chorus in a satisfying way. I am\n less taken with what it does to the solo voices, which have an \nartificial-sounding reverberance to them and seem somehow changed in \ncolor. Overall the transfer sounds quite decent, although I continue \nmarginally to prefer the LP. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Schubert is another matter. I was \nable to do A\/B comparisons with not only Concert Classics SXLP-30204 but\n also the original issue on ASD-345, as well as the currently available \nEMI CD. Rose has boosted the highs of his Concert Classics LP, but \nattenuated the bass. Moreover, since this LP reissue was weak in high \nfrequencies to begin with, his boost doesn’t really restore what has \nbeen removed, but rather creates a peak in the upper midrange that is \nquite apparent on A\/B listening. Even more telling is a comparison with \nthe original LP edition (on a “white and gold” pressing, highly prized \nby audiophiles): The violins are bright and clear here as opposed to \nbeing muffled on the SXLP version and edgy on Rose’s transfer. The \nwoodwinds’ instrumental signatures are clearer as well, and while the \nbass is somewhat deficient, the sound overall is far more natural than \non either reissue. The EMI CD is a bit strident but otherwise more \nhonest to the original timbres. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMine seems to be the lone dissonant voice amid \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare’s\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n chorus of praise for Andrew Rose’s transfers. I believe that reviewing \nhistorical CDs should involve A\/B comparisons wherever possible, since \nthe middle-frequency-rich sound Rose produces, like that of Michael \nDutton, can be seductive if heard out of context. I further believe Rose\n should have used a superior source for the Schubert in particular. For \nthat matter, since EMI’s own CD clearly benefited from the use of master\n tapes superior to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eany\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e LP incarnation, one wonders why Rose bothered to issue it at all. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRose clearly falls into the \ninterventionist school of transfer engineers. It seems to me that his \ntransfers are successful in inverse proportion to the quality of the \noriginal; the Mozart here is far more satisfactory than the Schubert, \nand he worked wonders with the several-generation dubs of Beecham’s \nSeattle Symphony broadcasts. Perhaps he can be persuaded to concentrate \nmore on such arcane material, or at least to use the best possible \nsource material for the recordings he does issue, rather than what may \nhappen to be on hand. Recommended, qualifiedly, for the Requiem. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRichard A. Kaplan\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO076.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA fabulous Mozart Requiem is revealed in these new XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBeecham's brilliance heard here as never before, with sterling performances throughout\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording of Mozart's \u003cem\u003eRequiem \u003c\/em\u003eis one of \nthose happy instances which demonstrates the merits of Pristine Audio's \n32-bit XR remastering system at its best, lifting what was a \ndull-sounding and indistinct choir into a degree of brilliance and \nclarity one would never have suspected from the original recording. \nIndeed, the entire recording has been transformed to an extent one can \nonly really appreciate by hearing \"before\" and \"after\" side-by-side - \nespecially in the Ambient Stereo version I wholeheartedly recommend \nhere.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe later Schubert recording was far more successful in \nits original incarnation, but this, too, has been brought into even \nfiner focus by the XR process, with additional use of phase-alignment \nsoftware helping to produce a more sharply-defined stereo soundstage \nthan before.\u003c\/p\u003e\u003cp class=\"body\"\u003eTogether they're a superb-sounding record of Beecham at his very best.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eRequiem Mass in D minor, K626 (rev. Beecham)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 13-14 December 1954 and 29 May 1956, Walthamstow Assembly Hall, London\u003cbr\u003e First issued on Columbia ML-5160 \u003cbr\u003e Transfer from Fonata CFL 1000\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eElsie Morison \u003c\/b\u003esoprano\u003cb\u003e \u003cbr\u003e Monica Sinclair \u003c\/b\u003econtralto\u003cb\u003e \u003cbr\u003e Alexander Young \u003c\/b\u003etenor\u003cb\u003e \u003cbr\u003e Marian Nowakowski \u003c\/b\u003ebass\u003cb\u003e \u003cbr\u003e BBC Chorus \u003c\/b\u003edir. \u003cb\u003eLeslie Woodgate\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 5 in B flat major, D485 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 14\/16 May 1958 Salle Wagram, Paris\u003cbr\u003e and 18 December 1958 \u0026amp; 7 May 1959, Abbey Road Studio 1, London \u003cbr\u003e First issued on EMI ASD345\/ALP1743\u003cbr\u003e Transfer from EMI SXLP 30204\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Sir Thomas Beecham \u003c\/b\u003econductor \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eStudio recordings, 1954-1959\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2012\u003cbr\u003e Cover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003eTotal duration: 77:52\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\/PACO076.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO076.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":33844632333,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33844632525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33844632653,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33844632781,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO076.jpg?v=1489155842"},{"product_id":"pasc470","title":"BEECHAM The ABC Blue Network Concerts, Volume 2 (1945) - PASC470","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eGötterdämmerung: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiegfried’s Funeral March\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003ePelléas et Mélisande Suite: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Death of Mélisande\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eDivertimento, \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eK 131: \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eAdagio\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8, \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e“Unfinished.”\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSerenade in C: \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eElegie\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes Troyens: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eTrojan March \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"ARIALbi\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 14 April 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:50\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBlue Network Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe heart-rending, diaphanous Elegie from Tchaikovsky’s C Major Serenade for Strings, a work Beecham never committed to commercial issue...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe second in the series of Blue Network concerts in New York on 14 April 1945 (see \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e\n for further details) saw a tribute concert in memory of President \nRoosevelt who had died just two days before. The programme had to be \nchanged to reflect the sombre nature of the occasion which was \ninterrupted for a funeral report from the White House. A few salient \ndetails need to be borne in mind. After the introduction by Milton Cross\n there was a minute’s silence – one can hear cross-station interference –\n that producer Andrew Rose has wisely truncated. 50 seconds of music is \nmissing from the Sibelius, which he has patched from another recording –\n he doesn’t say which. A shorter patch was necessary in the Schubert \nwhich is ended early in any case by a live report.\u003cbr\u003e \u003cbr\u003e Almost \neverything here is familiar from Beecham’s extant discography, though \nnot everything will be familiar from on-the-wing live performances such \nas these. Siegfried’s Funeral March starts slightly awkwardly and \nensemble is less blended than in his 1953 RPO studio performance. \nNevertheless, the cumulative charge of the music-making is very strong \nindeed. Something should be said about Pristine’s tracking details which\n list track 3 as \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e from Sibelius’s Op.46 suite. In fact, there are, to be precise, three movements from the suite; \u003cem\u003eMélisande\u003c\/em\u003e (No.2), \u003cem\u003ePastorale\u003c\/em\u003e (No.5) and finally, and most appropriately, \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e\n itself. This offers a more wide-ranging mini-suite in which playful \narabesques lighten the commemorative and grieving elements enshrined in \nthe bulk of Beecham’s programme. His 1955 RPO performance may be more \ntightly played but this New York one has great gravity – his vocal \nexhortations during this last tableau will be familiar to those who know\n his similarly live BBC Second Symphony recording. The inclusion of the \nAdagio from Mozart’s Divertimento in D, K131, is apt.\u003cbr\u003e \u003cbr\u003e The surface hiss level is at its most intrusive in the second movement of Schubert’s \u003cem\u003eUnfinished.\u003c\/em\u003e\n But the brass is trenchant and the strings taut and memories will stir \nof his pre-war reading with the LPO just as much as the 1951 RPO. By a \nquirk of reportage therefore, given that the concert relay is halted \nbefore the end of the work, we have a doubly-unfinished symphony. The \nreal bonus for Beecham aficionados is the inclusion of Tchaikovsky’s \u003cem\u003eElegie\u003c\/em\u003e from the Serenade for Strings, which he never recorded commercially. Milton Cross announces this as Berlioz’s \u003cem\u003eIntermezzo and Serenade\u003c\/em\u003e,\n a clue perhaps to the original concert line-up. This is a tremendous \nreading - fluctuating, brimming, teeming with ardent lyricism, and a \nfulsome example of Beecham’s art. The concert ends with the \u003cem\u003eMarche Troyenne -\u003c\/em\u003e a noble way in which to end this near-hour long salute to the departed leader.\u003cbr\u003e \u003cbr\u003e\n This sequence of continuing discs leads me to hope that aural evidence \nhas survived of Beecham’s coast-to-coast tour of the US with the RPO in \n1950.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA national moment of silence precedes the broadcast concert of the \nBlue Network Orchestra led by Sir Thomas Beecham – the 14 April 1945 \nconcert coincides with the funeral service for President Franklin Delano\n Roosevelt – and the program Beecham leads reflects the spirit of \nvalediction. The famous \u003ci\u003eSiegfried Funeral March\u003c\/i\u003e from \u003ci\u003eThe Twilight of the Gods\u003c\/i\u003e\n receives a potent, albeit direct, realization from Beecham’s responsive\n players, a linear approach we might ascribe to Toscanini.  Even more \npathos-ridden, the English horn solo and strings that constitute the \nfirst section of \u003ci\u003eThe Death of Melisande\u003c\/i\u003e (1905) makes a lachrymose\n impression that remains special, even in the extensive Beecham canon of\n Sibelius. After a relatively genial, nostalgic middle section, the \nreturn of the somber strings leaves us emotionally drained.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe \u003ci\u003eAdagio\u003c\/i\u003e from Mozart’s second divertimento for strings, that in \u003ci\u003eD Major, K.131\u003c\/i\u003e,\n adds a distinct element of old-world grace to the occasion.  The \ndiaphanous strings trills assume a hue, an intimation of mortality.  The\n second period in the music, with its sudden \u003ci\u003eff\u003c\/i\u003e, expresses a \nlevel of otherwise understated anguish in musical moment that approaches\n Handel for exquisite, melodic fervor. The major work, Schubert’s \u003ci\u003eUnfinished Symphony\u003c\/i\u003e, assumes an air of guarded mystery and often aggressive fire in the opening \u003ci\u003eAllegro moderato\u003c\/i\u003e.\n Beecham subdues the brass parts to allow the famous string melody \nresonant primacy. But this music of solace breaks off and enters an \nabysmal realm of profound grief which Beecham invests with demonic \npower. We sense that, had Beecham the benefit of sound enhanced beyond \nthe monaural resources of AM radio, the effect would have been truly \noverpowering. The \u003ci\u003eE Major Andante con moto\u003c\/i\u003e communicates a \npoignant dignity, solemnly martial, enhanced by the colors from the \nclarinet, oboe, French horn, and distant tympani.  An announcement \ninterrupts the broadcast of this movement; then the music resumes – \nhaving missed the Delius component – with the heart-rending, diaphanous \u003ci\u003eElegie\u003c\/i\u003e from Tchaikovsky’s \u003ci\u003eC Major Serenade for Strings\u003c\/i\u003e, a work Beecham never committed to commercial issue.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe program concludes on a more stoical note – the \u003ci\u003eTrojan March\u003c\/i\u003e of Berlioz – and even the spoken introduction by Milton Cross conveys an air of uplifted resolve.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"https:\/\/www.audaud.com\/beecham-the-abc-blue-network-concerts-volume-2-a-tribute-concert-in-memory-of-president-roosevelt-works-f-wagner-sibelius-schubert-berlioz-tcaikovsky-mozart-blue-network-sym-beecham-pr\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC470.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond of four newly-discovered broadcast concerts - Beecham's Roosevelt Tribute Concert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n concert ends with the Marche Troyenne - a noble way in which to end \nthis near-hour long salute to the departed leader\" - MusicWeb \nInternational\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSir Thomas Beecham's second of four scheduled live concert broadcasts\n with ABC's \"Blue Network Symphony Orchestra\" must have given the new \nstation's controllers any number of headaches, primarily because of the \nsudden death in office of President Roosevelt two days before the \nconcert, scheduled to coincide with the funeral service at the White \nHouse. We do not know what music Beecham had planned for that concert, \nbut one assumes it would have been considerably different to the more \nsolemn affair delivered on the day.\u003c\/p\u003e\u003cp\u003eIn preparing this previously-unreleased broadcast for issue I've had \nto make several unusual interventions. The broadcast began with a \nminute's silence, which I've faded. A section of about 50 seconds of \nmusic was missing from the Sibelius - this I've patched in from another \nrecording which I've \"aged\" to match the Beecham. A much shorter section\n in the Schubert had to be similarly patched.\u003c\/p\u003e\u003cp\u003eThe latter, interrupted by the broadcaster for a live report from the\n White House (audio of which doesn't apparently survive) is quite \nliterally unfinished - but we have most of it. Thereafter the concert is\n complete, though the announcement of a Berlioz Intermezzo and Serenade \nlead into a faded-in Tchaikovsky \u003cem\u003eElegie\u003c\/em\u003e, indicating that the concert, before a largely silent audience, continued without a break.\u003c\/p\u003e\u003cp\u003eIt's a remarkably historic document with some fabulous playing. Sound\n quality again is good AM radio; I've been able to deal largely with \nsome interference from other radio stations, whilst some disc surface \nnoise is occasionally audible.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eWAGNER \u003c\/b\u003eGötterdämmerung, WWV 86D - Siegfried's Funeral March\u003cbr\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e Pelléas et Mélisande, Suite, Op. 46 - 9. The Death of Mélisande\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento in D, K.131 - 2nd mvt. - Adagio\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003e Symphony No. 8 in B minor, D.759 \"Unfinished\"\u003cbr\u003eABC Radio - Interruption for White House funeral report\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Serenade for Strings, Op. 48 - 3rd mvt. - Elegie\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e The Trojans, H.133 - Marche Troyenne\u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 14 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\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\/PASC470.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC470.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":31975230029,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975230093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975230157,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC470_a6a41065-f1f1-45c1-b4d4-0855600e8ba5.jpg?v=1487681893"},{"product_id":"pasc477","title":"BEECHAM The ABC Blue Network Concerts, Volume 3 (1945) - PASC477","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cspan class=\"ARIAL\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 31\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL-BEECHAM \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHABRIER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e España\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 21 April 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 53:13\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBlue Network Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f At the fiery conclusion, the audience roar clearly expresses their recognition of a true “lollipop”578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe third volume of this series (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Aug\/Beecham_ABC_v2_PASC470.htm\"\u003eVolume 2\u003c\/a\u003e)\n traces a congenial concert of Mozart, Handel and Chabrier that is all \nover well within the hour. The central work is that hyphenated and \nhyperbolic construction, the Handel-Beecham Piano Concerto. In this the \nBart has ransacked some memorable themes to stitch together a concerto \nof sorts, a vehicle for his new wife Betty Humby who here gives the work\n its first radio broadcast. The premiere had been given a little \nearlier, on 15 March 1944, again in New York. As Andrew Rose notes, \nBeecham and Humby recorded it in London the following year but he is not\n quite right in his dating. Most of the recording comes from January \n1945 but the \u003cem\u003eRomanza\u003c\/em\u003e was set down successfully in October of \nthat year (the then unpublished performance can now be found on Somm). \nThere are no huge interpretative differences in as slight a piece as \nthis, but it is noticeable that the very stately opening was tightened \nup a few months later in the London studio inscription. This charming \nwork, full of rococo trills and burnished romance, is graced by \nexcellent string playing – fully \u003cem\u003eaffetuoso\u003c\/em\u003e when called for - an\n especially fine first flautist, and a few minor digital derailments \nfrom Humby. As picked up by the microphone, her piano tone isn’t quite \ncentred in the balance; it tends to be a bit recessive.\u003cbr\u003e \u003cbr\u003e Beecham\n was still in his early-mid period approach to Mozart’s symphonies. \nHowever beautifully shaped some later recordings were, there was \nsometimes a hint of too-manicured phrase tapering. Here he takes the \u003cem\u003eParis\u003c\/em\u003e\n with all his accustomed vitality. His earlier LPO recording, which can \nbe found on Dutton and elsewhere, is full of the kind of swagger and \ndriving intensity that can be heard in this New York reading. The lower \nstrings shine, the forward tuttis register powerfully, and the elegant \nand Andante never drags. Elegance and trenchancy are held in perfect \nequipoise. As a bonus we hear one of his encore favourites, a piece he \nloved playing and recording – Chabrier’s \u003cem\u003eEspaña\u003c\/em\u003e. Deftly \nrhythmic and virtuosic it elicits voracious, applause which bulks up the\n playing time to precisely the 6:30 or so he took in his RCA reading. In\n New York he whipped up a quite different and more kinetic kind of \nstorm.\u003cbr\u003e \u003cbr\u003e On my review copy rogue discographic information \nrelating to a Rudolf Kempe disc has migrated to the back of the jewel \ncase, though this is presumably easy to correct. The engineering is fine\n and it’s always good to hear announcer Milton Cross adding period \nflavour to the proceedings.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe concert by Sir Thomas Beecham and the “Blue Network Symphony \nOrchestra” of 21 April 1945 certainly assumes a more optimistic tone \nthan that which occurred as President Franklin Roosevelt had been laid \nto rest. The high energy of the occasion bursts forth immediately, with \nMozart’s 1778 \u003ci\u003eD Major “Paris” Symphony\u003c\/i\u003e, expressly conceived to parody the musical conceits of the day, such as the so-called \u003ci\u003epremier coup d’archet\u003c\/i\u003e,\n or the Parisian version of unison Mannheim rocket figures at a \nsymphonic opening. The addition of trumpets and tympani – and the \nclarinets – increases the often ceremonial pomp of the performance. \nThroughout the performance, Beecham emphasizes the suave grandeur Mozart\n controls in this, his largest symphonic structure in his oeuvre at the \ntime. The virtuoso syncopations of the last movement move with a lithe \nsuppleness that makes this rendition a worthy companion to Beecham’s \ncommercial endeavor with the Royal Philharmonic Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham himself arranged various Handel melodies and tropes to create the four-movement \u003ci\u003ePiano Concerto in A,\u003c\/i\u003e\n expressly for his new wife, Betty Humby. Handel emerges as a Romantic, \nhis textures lush and flavored by all sorts of nice touches between the \nkeyboard and the woodwinds, especially in the middle movement \u003ci\u003eRomanza\u003c\/i\u003e. The first movement \u003ci\u003eChaconne\u003c\/i\u003e exploits a bass pattern we know from Edwin Fischer’s early recording.  The \u003ci\u003eMenuet\u003c\/i\u003e movement, staid and\u003ci\u003e galant\u003c\/i\u003e,\n embodies the soul of aristocratic elegance. Despite the “popular media”\n version of Handel proffered by the Beechams, the effect has its moments\n of intimacy and elated fervor.  With the Finale’s glad spirits, we have\n a \u003ci\u003econcertante\u003c\/i\u003e pastiche of Handel pleasantry. Humby performs with\n a speed and lithe grace that suggest she would have been a natural \nacolyte of the Mendelssohn concertos.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham called Chabrier’s \u003ci\u003eEspana\u003c\/i\u003e “the best of quasi-Spanish \nmusic yet written.” In one Leonard Bernstein’s Harvard lectures, he \npointed out the “poetic,” architectural and symmetrical features in \nChabrier’s brilliant scoring for this “Rhapsodie.” The Blue Network \nhorns and winds, as they had been in the Mozart, project a brisk, alert \nsonority, fresh and vivid, as tends to be Chabrier’s wont. At the fiery \nconclusion, the audience roar clearly expresses their recognition of a \ntrue “lollipop.” The restored sound by Andrew Rose raises the level of \nsonority well above anything like AM radio.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"http:\/\/www.audaud.com\/beecham-abc-blue-network-concerts-vol-3-mozart-symphony-no-31-handel-piano-concerto-in-a-major-chabrier-espana-betty-humby-p-blue-network-sym-orch-sir-thomas-beecham-pristine-audi\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC477.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThird of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"In New York he whipped up a quite different and more kinetic kind of storm\" \u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFollowing the hastily-arranged and sombre affair of Beecham's second \nBlue Network Symphony Orchestra concert (PASC470), his third engagement \nsaw something of a return to normal service, and some far more upbeat \ncommentary from Milton Cross than was heard at the Roosevelt Memorial \nConcert of Volume Two.\u003c\/p\u003e\u003cp\u003eOnce again we have a \"Handel-Beecham\" radio première, following on in\n this respect from the first concert (PASC461). This time the work was a\n Piano Concerto in A, with the soloist one Betty Humby, who two years \npreviously had become Lady Beecham when she married the conductor, some \n29 years her senior, before a police justice in Manhattan. Described by a\n reviewer as \"a straightforward arrangement of themes with the typical \nBeecham touch\", the musical duo had already made a studio recording of \nthe concerto in the January of 1945 with the London Philharmonic, one of\n a number of recordings Beecham made at the time which remained unissued\n for contractual reasons until copyright expired in the 1990s.\u003c\/p\u003e\u003cp\u003eAs with the previous volumes, sound quality from these 33rpm \ntranscription discs is on a par with good AM broadcasts, greatly \nassisted by XR remastering.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 31 in D major, \"Paris\", K297\u003cbr\u003e\u003cb\u003eHANDEL-BEECHAM \u003c\/b\u003e Piano Concerto in A major\u003cbr\u003e\u003cb\u003eCHABRIER\u003c\/b\u003e España, Rhapsodie pour orchestre \u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 21 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBetty Humby, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC477.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC477.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975385421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975385485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975385549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC477_186bcf9e-c83b-4ead-9796-e8e327f7438d.jpg?v=1487681896"},{"product_id":"pasc480","title":"BEECHAM The ABC Blue Network Concerts, Volume 4 (1945) - PASC480","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan class=\"ARIAL\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 102\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Impresario - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"ARIAL\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"ARIALb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSAINT-SAENS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Omphale’s Spinning Wheel\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Trojans - Royal Hunt and Storm\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Hungarian March\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALbi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 28 April 1945\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 53:37\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBlue Network Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Hungarian March from La damnation de Faust serves as a marvelous rabble-rouser, as if the New York audience were not sufficiently beside themselves with Beecham fever578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe fourth and last in this series of broadcasts from 1945 features a\n programme close to the heart of Thomas Beecham; Mozart, Haydn, \nSaint-Saëns and Berlioz (reviews of \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Aug\/Beecham_ABC_v2_PASC470.htm\"\u003eVolume 2\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Oct\/Beecham_ABC_v3_PASC477.htm\"\u003eVolume 3\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n The Mozart is the overture to The Impresario, a perfect example of \nBeecham’s mid-period energy in this repertoire. His jaw-jutting joie de \nvivre infects his forces through wind arabesques and litheness of the \nstring choirs. The performance fizzes by in 3:44, the remaining half \nminute being given over to applause. \u003cem\u003eRouet d’Omphale\u003c\/em\u003e was a \nlong-standing favourite, and one he seemed to enjoy taking to North \nAmerica. WHRA’s Beecham box has a Toronto performance from 1960 which is\n somewhat slower – inevitably perhaps given his age – than this New York\n one. His NY forces are in splendid form here, the coagulant tone of the\n lower strings being especially notable, as is the fine brass playing.\u003cbr\u003e \u003cbr\u003e\n The centrepiece is Haydn’s Symphony No.102 which differs somewhat in \nproportion to the 1958-59 LP performance that formed part of his famous \nlate Haydn sequence. The opening Largo is splendidly sustained – one \nwonders how much rehearsal time Beecham had with his forces before these\n live broadcasts – which then leads into a combatively argued Vivace. \nThe precisely chorded accents are accompanied by bonhomonious vigour, \nBeecham’s Haydn being the opposite of ascetic. He must have been \nagreeably amused by the applause that greets the end of the first \nmovement. The slow movement is taken at a good, sustainable tempo, \nvested by those little touches of Beechamesque romance that lead, \ninevitably, to renewed applause. There’s a gutsy quality to the Minuet \nbut the tempo is in no way slower than that taken by modern \npractitioners and there’s evidence of the Baronet’s foot stamping in the\n finale, which is suitably exciting, witty, and sweeping.\u003cbr\u003e \u003cbr\u003e He \nends the programme with two staples from his Berlioz armoury. The Royal \nHunt and Storm compares favourably to his other recordings, except \nperhaps in absolute fidelity of sound quality whilst the \u003cem\u003eMarche Hongroise\u003c\/em\u003e makes its inevitable and indeed indelible impression in this galvanizing reading. He’s certainly up to tempo here.\u003cbr\u003e \u003cbr\u003e It’s always good to hear announcer Milton Cross in this series, as he adds period ballast to the proceedings.\u003cbr\u003e \u003cbr\u003e\n These four CDs, whilst not offering much by the way of repertoire \nnovelty, have certainly surprised by virtue of their existence at all. \nIt’s been a pleasure to get acquainted with them and I renew my appeal \nto trace examples of Beecham’s North American tours with his RPO in the \nearly 1950s. Here’s one of my reasons: I want to hear Beecham’s leader, \nDavid McCallum, playing the Delius Concerto.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Haydn 1795 \u003ci\u003eSymphony No. 102 in B-flat Major\u003c\/i\u003e provides the \ncenterpiece for this high-energy concert from 28 April 1945, the fourth \nand last of Sir Thomas Beecham’s concerts sponsored through the ABC \nnetwork. The onrush of musical dynamism begins earlier, with Beecham’s \nthoroughly spontaneous approach to Mozart’s 1786 \u003ci\u003esingspiel\u003c\/i\u003e \u003ci\u003eThe Impraesario\u003c\/i\u003e, whose \u003ci\u003eOverture\u003c\/i\u003e\n permits all sorts of interior colors as well as witty rhythmic \nsubtleties not lost on our engaged conductor.  Even narrator Milton \nCross seems delighted to announce it as his prelude to the Saint-Saens \nsymphonic poem that depicts the Lydian queen’s “humiliation” of the \nGreek hero Hercules – for the fatal fall of Iphitos – in the form of \n“women’s work.” A brilliant piece of orchestration – set as a mounting \ncrescendo and then a fading away of the \u003ci\u003eostinato\u003c\/i\u003e drudgery with a brief \u003ci\u003escherzando\u003c\/i\u003e at the coda – the work confirms Beecham’s innate affection for this composer, whose various dances from \u003ci\u003eSamson et Dalihah\u003c\/i\u003e always shone under Beecham’s direction as superb “lollipops.”\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA slow introduction – a unison \u003ci\u003eB-flat\u003c\/i\u003e followed by a five-note phrase – sets the Haydn \u003ci\u003eSymphony No. 102\u003c\/i\u003e in motion, and the rather dreamy phrase suddenly bursts forth \u003ci\u003eVivace \u003c\/i\u003ein\n a manner – rife with accents that refuse the beat – worthy of a certain\n rising composer from Bonn. When the music finally lands on a cadence, \nthe manic energy does not yield to a gentle counter-theme but works the \nsyncopation into a three-voice canon. The music modulates to an alien \u003ci\u003eC Major\u003c\/i\u003e\n before the flute announces a false respite, one whose tempests continue\n through chromatic shifts until Beecham can bring the coda to a \nresounding halt. The\u003ci\u003e Adagio\u003c\/i\u003e proves no less commanding, a lyrical transformation of an\u003ci\u003e f-sharp minor Piano Trio \u003c\/i\u003etheme.\n Brief but superlatively colored, the movement, like its predecessor, \nbrings applause by a moved audience. Beecham always finds snappy dash in\n Haydn \u003ci\u003eMenuets\u003c\/i\u003e, especially in this whose stamping three-note \nfigure imbues the music with an earth-bound, peasant wisdom. Haydn’s \ninnovative use of dissonance makes the \u003ci\u003ePresto \u003c\/i\u003efinale no less \nelastic, and Beecham reminds us how many debts Beethoven owes to this \nimaginative masterpiece, especially given his own \u003ci\u003eFourth Symphony\u003c\/i\u003e in the same key.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe two Berlioz works confirm Beecham’s spirited espousal of this \ncomposer’s music, especially any episode from the composer’s 1858 grand \nopera \u003ci\u003eLes Troyens\u003c\/i\u003e, which the conductor championed in its revival in 1957. The \u003ci\u003eRoyal Hunt and Storm\u003c\/i\u003e\n figures from Act IV, a ballet-pantomime in which Dido and Aeneas wait \nout a storm in a cave. A specter of the gods urges Aeneas on to Italy, \nwhere his fate awaits. Exquisite pandemonium! In his commercial recoding\n for EMI, Beecham had the serene advantage of Dennis Brain in the horn \npart. The \u003ci\u003eHungarian March\u003c\/i\u003e from \u003ci\u003eLa damnation de Faust\u003c\/i\u003e serves as a marvelous rabble-rouser, as if the New York audience were not sufficiently beside themselves with Beecham fever.\u003c\/p\u003e\u003cp\u003e\n—Gary Lemco\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.audaud.com\/beecham-abc-vol-4-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC480.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal of four newly-discovered broadcast concerts by Beecham at the nascent ABC in 1945\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"His\n NY forces are in splendid form here, the coagulant tone of the lower \nstrings being especially notable, as is the fine brass playing\" \u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eInformation concerning Sir Thomas Beecham's four concerts on the \nnascent ABC radio network in April 1945 is scant, but a small notice in \nthe New York Times of 15 April suggests that not only had the Saturday \nconcerts been quickly deemed a success, but that plans were already \nafoot to take the idea forward.\u003c\/p\u003e\u003cp\u003eExpecting to follow in Sir Thomas's footsteps were Max Goberman, \nNikolai Beresowski and Paul Whiteman (for a Gershwin memorial concert on\n June 30). Furthermore it was stated that \"\u003cem\u003ewhile there has been no \nofficial announcement of such a plan, it is reported that the orchestra \nmay become a permanent symphony ensemble for the network\u003c\/em\u003e\". \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham's final concert was once again centred around a classical \nsymphony - this time from Haydn - coupled with a handful of popular \nshorter works.Our source this time lacked an introduction or sign-off \nfrom Milton Cross, and quality varies somewhat across the sides, but \ngenerally we find decent audio quality and, once again, some sterling \nmusicianship from Sir Thomas and his ensemble.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART\u003c\/b\u003e Der Schauspieldirektor, K.486 - Overture\u003cbr\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Le Rouet d'Omphale, Op. 31\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003e Symphony No. 102 in B flat major, Hob. I:102\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e Les Troyens, H133 - Chasse royale et Orage\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e La damnation de Faust, H 111 - Marche Hongroise \u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham,\u003c\/b\u003e conductor\u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 28 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003c\/p\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\/PASC480.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC480.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":3146931372058,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":3146931404826,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":3146931437594,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC480.jpg?v=1512384327"},{"product_id":"pacm098","title":"BUDAPEST QUARTET Early Recordings (1926-29) - PACM098","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet in G, Op. 76, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e“Hunt” Quartet\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e“Death and the Maiden” Quartet\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e“American” Quartet\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet No. 2 in F, Op. 22\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDittersdorf\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMendelssohn \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBorodin\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-29\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:50\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Budapest Quartet\u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fConvincing, colorful bravura from the Budapest ensemble578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAssembled from electrical inscriptions, 1926-1929, this extensive set\n dedicated to The Budapest String Quartet (1917-1967) concentrates on \nthe ensemble’s early years, when shifts in the originally Hungarian \nensemble had not yet resulted in an all-Russian personnel.  The Quartet \nmembers – Emil Hauser and Imre Pogeny, violins; Istvan Ipolyi, viola; \nand Harry Son, cello – established a homogeneous, albeit Old-World sound\n – listen to their Borodin \u003ci\u003eNocturne\u003c\/i\u003e – while having instituted a \ndemocratic process for the selection of repertory. By the 1928 \ninscriptions, Russian violinist Joseph Roisman had already “infiltrated”\n the group in the second violin position.  Recording producer and \nengineer Mark Obert-Thorn notes that the works by Haydn, Dittersdorf, \nMozart, and Tchaikovsky appear for the first time in the CD format, not \nhaving been reissued since their 78 rpm incarnation.\u003c\/p\u003e\u003cp\u003eThe Mozart \u003ci\u003e“Hunt” Quartet\u003c\/i\u003e from 1926 presents a fine example of\n the Budapest style at the time, with often deliberate, slowly \narticulated phraseology – particularly in the \u003ci\u003eMenuetto\u003c\/i\u003e movement –\n and a high thin, reedy sound from Emil Hauser.  The “period” aspects of\n the Romantic style – rubato, hefty vibrato, and portamento – emerge \nrather par for the course. The clear articulation in the \u003ci\u003eAdagio\u003c\/i\u003e \nmovement simultaneously emphasizes Mozart’s long, interweaving melodic \nlines and their passing harmonic audacities. Harry Son’s cello part adds\n a piquant lyricism to the whole. The fleet \u003ci\u003eAllegro assai\u003c\/i\u003e, for all its concertante brilliance, proffers passing, ghostly harmonies touched by a sense of personal anguish.\u003c\/p\u003e\u003cp\u003eThe last movement of Dittersdorf \u003ci\u003eQuartet in G\u003c\/i\u003e (1926) clearly “borrows” motifs from Haydn’s \u003ci\u003eSymphony No. 88 in G\u003c\/i\u003e,\n the final movement. But the playing, like that of the Haydn, also from \nFebruary 1926, proves so infectious that we care not whether allusion or\n plagiarism operates here. The Dvořák performance from 16 February 1926 \nobviously predates the Russians’ CBS LP (ML 5143) which I owned and \nbecame my staple recording. Here, in their Hungarian guise, the players \nlilt and inflect Dvořák’s already sentimental lines in the \u003ci\u003eLento\u003c\/i\u003e \nwith a studied treacle that might not agree with contemporary tastes.  \nYet Emil Hauser and Imre Pogeny make a convincing duet against the \nostinato figures in the bass line. The \u003ci\u003eScherzo\u003c\/i\u003e moves in rather pesant figures, studied and tensely ponderous, with another of those “ghostly” effects proffered in the \u003ci\u003eTrio\u003c\/i\u003e, aligning Dvořák more with Weber and the dark Romantics. Only the exuberant\u003ci\u003e Finale\u003c\/i\u003e\n retains a jovial character, a radiance allotted to this vivacious dance\n music that had eluded the earlier movements.  The caesura in the flow \nof the line makes us think that Mengelberg led this performance! For \nDisc 1, the forever lovely \u003ci\u003eNocturne\u003c\/i\u003e by Borodin (23 January 1928) \nmakes a perfect encore, especially for the artistry of the two low \ninstruments, courtesy of Ipolyi and Son.\u003c\/p\u003e\u003cp\u003eCuriously in the 1950s CBS LP of “Budapest Quartet Encores” (ML 5116), only the Borodin and Mendelssohn\u003ci\u003e Canzonetta \u003c\/i\u003ehad renewed inscription from the all-Russian ensemble. That disc made us wish for a complete version of the Franck \u003ci\u003eQuartet\u003c\/i\u003e\n in the Budapest pantheon of recordings.  With Roisman in the second \nviolin chair, we might grant a degree of crisper, cleaner articulation \nIn the Mendelssohn (23 January 1928) than we had been hearing in the \n1926 shellacs. I recently aired the recording of the 1874 Tchaikovsky \u003ci\u003eF Major Quartet\u003c\/i\u003e,\n an opus the composer held in high esteem.  The February 1929 recording \nhas been restored with disarming clarity of line, so the music’s diverse\n virtues shine, as the opening quasi cadenza sets a powerful mood. The \ninterior movements’ asymmetries emerge in well defined sonics. \nTypically, Tchaikovsky invokes contrapuntal means in the last movement \nto “legitimize” his Classical credentials.  Given Tchaikovsky’s \nadmiration of Beethoven – “there are no wasted motions in his music, no \nfiller,” exclaimed Tchaikovsky  – it seems appropriate that much of this\n quartet – especially in the metrics of the \u003ci\u003eScherzo\u003c\/i\u003e – resonates with a confidence and sense of structure associated with the Bonn master.\u003c\/p\u003e\u003cp\u003eFrom the opening, macabre fanfare, the Budapest Quartet’s inscription (January 1928) of Schubert’s \u003ci\u003eDeath and the\u003c\/i\u003e \u003ci\u003eMaiden Quartet\u003c\/i\u003e\n of 1826 bears the imprimatur of a fine performance.  Only the “Death” \nlyric of the Matthias Claudius poem is cited by Schubert from his own \nsong, from which the \u003ci\u003eg minor\u003c\/i\u003e second movement draws its impetus.  The rhythm bears a family resemblance to the \u003ci\u003eAllegretto\u003c\/i\u003e of the Beethoven \u003ci\u003eSeventh Symphony\u003c\/i\u003e.\n Of the variations that follow, only the fourth permits a ray of \nsunshine in G Major; but prior to that hopefulness, Emil Hauser has \nintoned some fine lyricism, along with Son and Ipolyi.\u003c\/p\u003e\u003cp\u003eThe last two movements exploit a more “symphonic” sound, so no wonder\n Mahler found the entire work worthy of orchestral treatment. The \nhaunted character of the\u003ci\u003e Scherzo\u003c\/i\u003e does little to relieve the immanence of Death. Is the\u003ci\u003e Trio\u003c\/i\u003e\n section anything more than a seduction of the Maiden by Death, in the \nsame vein as the Elf-King’s overtures to the sickly boy in \u003ci\u003eDer Erlkoenig\u003c\/i\u003e? The combination of hunting-motif and eerie tarantella of the last movement offers a \u003ci\u003ePresto \u003c\/i\u003eof\n convincing, colorful bravura from the Budapest ensemble, here posing a \nserious rival to the equally respected inscription by the Busch String \nQuartet.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM098.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA superb collection of early electrical recordings by the Budapest Quartet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I do not hesitate in saying that this recording of the D minor Quartet is the best I know of\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e“One Russian is an anarchist.  Two Russians are a chess game.  Three \nRussians are a revolution.  Four Russians are the Budapest String \nQuartet.”  Or so went the witticism attributed to Jascha Heifetz.  But \nthis was not always the case.  In 1917, when four players from the \nBudapest Opera Orchestra formed the quartet, it consisted of three \nHungarians (Emil Hauser, Alfred Indig and Istvan Ipolyi, all Hubay \npupils) and a Dutchman (Harry Son, who had studied with Popper).  The \nensemble was founded upon certain ground rules:  unusually for the time,\n the members would confine their activities only to the quartet; and \ninterpretational disputes would be resolved by majority vote, with ties \nbroken by a designated repertoire specialist.\u003cbr\u003e\u003cbr\u003eWhen Indig left in \n1920, he was replaced by another Hungarian, Imre Pogany.  It was this \nconfiguration which first entered the recording studio in 1924.  HMV \nproducer Fred Gaisberg was keen to compete with Columbia’s \nBudapest-based Lener Quartet.  Acoustic sessions devoted to the Dvořák \n“American” Quartet came to nought when electrical recording was \nintroduced in 1925, and the ensemble’s first issued recordings, all of \nwhich are presented here, date from a series of sessions dating from \nJanuary through March of 1926.\u003cbr\u003e\u003cbr\u003eThe Russian infiltration began in \nthe latter half of the following year.  Pogany had left to join Fritz \nReiner’s Cincinnati Symphony (he would later move on to Toscanini’s New \nYork Philharmonic) and was replaced by Odessa-born Joseph Roisman.  \nRoisman had studied in both his native city and Berlin, and brought a \ndifferent approach that from early on challenged the Hungarians’ status \nquo (including their playing of weak staccatos using the tip of the bow,\n rather than its middle).\u003cbr\u003e\u003cbr\u003eIn 1930, Harry Son left the quartet and\n moved to Palestine.  (He was later to return to Rotterdam, ultimately \nbecoming a victim of the Holocaust.)  His position was taken in 1931 by \nthe second Russian, Mischa Schneider.  Roisman now found an ally in his \ninterpretive disputes, and by 1932, Hauser decided to leave, selling his\n Guarnerius to Roisman and eventually becoming a well-regarded teacher, \nboth in Israel and the United States.  With Roisman now as leader, \nAlexander Schneider, Mischa’s brother, was engaged for the second violin\n spot.  Ipolyi soldiered on for several more years before leaving in \n1936 to be replaced by another Odessa native, Boris Kroyt.  He became a \nteacher and author, eventually settling in Norway.\u003cbr\u003e\u003cbr\u003eThe early \nquartet’s recordings have had only spotty availability in extended-play \nformat.  Their 1927 Beethoven Grosse Fuge appeared on an EMI Références \nLP and a Biddulph CD.  The latter also contained nearly all the rest of \nthe quartet’s Beethoven recordings, including Opp. 130 and 59\/1.  A CD \non the Novello label featured the Schubert, Mendelssohn, Borodin and \nDvořák presented here, along with the “Andante cantabile” from \nTchaikovsky’s First Quartet.  The Haydn, Dittersdorf, Mozart and \nTchaikovsky Second Quartet make their first appearances here since the \n78 rpm era.\u003cbr\u003e\u003cbr\u003eThe sources for the transfers were mostly prewar \nAmerican Victor editions:  “Z” pressings for the Dvořák and Tchaikovsky;\n a “Gold” label album for the Schubert and Mendelssohn; and \n“Orthophonic” pressings for the Mozart and Borodin.  The Haydn and \nDittersdorf were taken from British HMV shellacs.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\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-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eQuartet in G Major, Op. 76, No. 1\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded  21 January and 4 and 11 February 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7787-1, 7788-2, 7835-2, 7836-1 \u0026amp; 7837-5 (HMV D 1075\/7)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eDITTERSDORF\u003c\/b\u003e Allegro (Finale)\u003cspan style=\"font-size: small;\"\u003e from String Quartet No. 1 in D Major\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 4 February 1926 ∙ Matrix no.:  Cc 7840-1 (HMV D 1077)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Quartet No. 17 in B Flat Major, K. 458, “Hunt”\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 25 January, 1 and 8 February and 4 March 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7854-2, 7855-1, 7856-2, 7857-7, 7858-7A \u0026amp; 7859-2 (HMV D 1387\/9)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eQuartet No. 12 in F Major, Op. 96, “American”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 16 February 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7769-5, 7770-5, 7771-4, 7772-5, 7773-5 \u0026amp; 7786-5 (HMV D 1124\/6)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEmil Hauser \u003c\/b\u003e(Violin I)\u003cb\u003e\u003cbr\u003eImre Pogany\u003c\/b\u003e (Violin II)\u003cb\u003e\u003cbr\u003e Istvan Ipolyi \u003c\/b\u003e(Viola)\u003cb\u003e\u003cbr\u003e Harry Son \u003c\/b\u003e(Cello)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003e\u003cbr\u003eRecorded in the HMV Studios, Hayes, Middlesex\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eBORODIN \u003c\/b\u003eNocturne from Quartet No. 2 in D Major\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 January 1928 ∙ Matrix nos.:  Cc 12466-2 \u0026amp; 12467-2 (HMV D 1441)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Quartet No. 14 in D Minor, D.810, “Death and the Maiden”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 and 26 January 1928\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 10160-3, 10161-3, 10162-2, 10163-6, 10164-7, 10165-4, 10166-5, 10167-5 \u0026amp; 10168-5 (HMV D 1422\/5)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Canzonetta \u003cspan style=\"font-size: small;\"\u003efrom Quartet in E Flat Major, Op. 12\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 January 1928 ∙ Matrix nos.:  Cc 12465-1 (HMV D 1425)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Quartet No. 2 in F Major, Op. 22\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 8 and 9 February 1929\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 15861-2A, 15862-2A, 15863-1, 15864-1A, 15865-2, 15866-2A-T1, 15867-1, 15868-2 \u0026amp; 15869-1A (HMV D 1655\/9)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEmil Hauser \u003c\/b\u003e(Violin I)\u003cb\u003e\u003cbr\u003eJoseph Roisman \u003c\/b\u003e(Violin II)\u003cb\u003e\u003cbr\u003eIstvan Ipolyi \u003c\/b\u003e(Viola)\u003cb\u003e\u003cbr\u003eHarry Son \u003c\/b\u003e(Cello)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded in Studio C, Small Queen’s Hall, London\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\/PACM098.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM098.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\u003eSchubert, 1928\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eIt gives me a feeling of great pleasure when from \nthe Editor I receive a big album containing some musical work in its \nentirety. And when this time I read the title and saw that H.M.V. had \nrecorded Schubert’s String Quartet in D minor (“Death and the Maiden”) \nperformed by The Budapest String Quartet (D. 1422—26, 12in., in album, \n£1 12s. 6d.), my heart leapt, knowing that something really good was in \nstore for me—and I was not disappointed.\u003cbr\u003e\u003cbr\u003eSchubert is to me, first\n of all, the composer of the lieder of the world: but when they have \nbeen mentioned I turn to the two well-known Symphonies, the Quintet with\n the two ’celli and this Quartet in D minor. All four works have the \nmain Schubertian qualities in common—the spontaneous well of musical \nideas, the flow and the joy, but also such grave problems as it is only \ngiven the great ones to meet with and to solve in their inmost mind. To \ncreate such music means unselfishly to serve the ideas and never to stop\n before the last and only expression has been found. To perform such \nmusic means just the same, and that is why I do not hesitate in saying \nthat this recording of the D minor Quartet is the best I know of.\u003cbr\u003e\u003cbr\u003eIt\n is not necessary but, nevertheless, stimulating to compare it with \nanother gramophonic edition, namely, the excellent performance by the \nLondon String Quartet (Columbia) which also is electrically recorded. \nNow, electrical recording steadily improves and the Budapest String \nQuartet benefits from it. All five discs are exceptionally fine from a \ngramophonic point of view. But, what is far more important, this \nperformance is unselfishly Schubertian. It has obviously been the aim of\n these performers not to show their fine playing but to play Schubert’s \nfine Quartet. The L.S.Q. has much of this but the Budapestians have \nmore, and anyone who will listen to the theme of the second movement \n(the “Death and Maiden” subject where, by the way, only “Death” appears)\n will realise what I mean. Many will find that the L.S.Q. have mere \ndelicacy, but the B.S.Q. have a broader attack and are of a more vivid \ntemperament (listen to the last movement) and, as I pointed out last \nmonth, have a more “ quartettish ” way of playing than many bodies, \nwhere one player is mostly predominant. I put them amongst the very best\n quartet players of the present time, and they have done themselves and \nH.M.V. full justice on this occasion.\u003cbr\u003e\u003cbr\u003eC. J., The Gramophone, May 1928 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":2913847771162,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":2913847803930,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM098.jpg?v=1510656058"},{"product_id":"paco008","title":"BUSCH Mozart: Le Nozze di Figaro (1934\/5) - PACO008","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Le Nozze Di Figaro (The Marriage of Figaro)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1934 \u0026amp; 1935\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 56:25\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGlyndebourne Festival Production\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Busch\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO008.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Mid-1930 Glydenbourne Marriage of Figaro \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst ever recording of any Mozart Opera, remastered for superb sound\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording of Mozart's opera 'Le Nozze di Figaro' (The Marriage \nof Figaro) was a milestone in recording history, and marked the creation\n of HMV's \"Mozart Opera Society\", which ultimately resulted in twelve \nvolumes of 78rpm recordings. The initial release in 1934 of Volume One \nwas experimental. Nobody had issued an entire Mozart opera before and \nthere was some doubt as to the demand, especially given the premium \nprice at a time of economic depression - ultimately the price of the \nfull set would be approximately double the average weekly wage for men \nin England at the time - and four times that of women. We have resisted \nthe temptation to price this version in a similar fashion... \u003cbr\u003e\u003cbr\u003eVolume\n One consisted of a side from Act 1, most of Act 2, a side from Act 3 \nand the second half of Act 4. A year later came the opportunity to \ncomplete the recording and release Volumes Two and Three. The record \ncompany managed to assemble almost the same cast, with the exception of \nBartolo, who had one solo aria (La Vendetta, Act One) to record, hence \nthe substitution of Italo Tajo for this one side. Norman Allin was not \navailable for the role in 1935 - that year's soloist had been considered\n unsuitable for the recording and Tajo was drafted in from the chorus - \nwe suspect his voice was closer to that of Allin's.\u003cbr\u003e\u003cbr\u003eAn indication\n of how tightly the project had to work is the exclusion of Neddle \nNash's planned aria 'In quegli anni' - time ran out before they could \nrecord it. Given that none of the sides went past a second take they \nmust have worked at quite a pace. Hence the inclusion in Volume Two of a\n single sided disc containing the Overture only.\u003cbr\u003e\u003cbr\u003eThe recording \nalso omits almost all the recitative material, which became standard \nrecording practice at the time. At around the same time HMV embarked on a\n further three volumes of Mozart opera to make up Cosi Fan Tutti, which \nwould become volumes four to six of the Mozart Opera Society series. \nThese were also recorded at Glyndebourne and also overlapped the two \nseasons.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eRoy Henderson\u003c\/b\u003e - Il Conte Almaviva (Baritone)\u003cbr\u003e \u003cb\u003eAulikki Rautawaara\u003c\/b\u003e - La Contessa Almaviva (Soprano)\u003cbr\u003e \u003cb\u003eAudrey Mildmay\u003c\/b\u003e - Susanna (Soprano)\u003cbr\u003e \u003cb\u003eWilli Domgraf-Fassbänder\u003c\/b\u003e - Figaro (Baritone)\u003cbr\u003e \u003cb\u003eLuise Helletsgruber\u003c\/b\u003e - Cherubino (Soprano)\u003cbr\u003e \u003cb\u003eConstance Willis\u003c\/b\u003e - Marcellina (Contralto)\u003cbr\u003e \u003cb\u003eHeddle Nash\u003c\/b\u003e - Basilio (Tenor)\u003cbr\u003e \u003cb\u003eNorman Allin\u003c\/b\u003e*\/\u003cb\u003eItalo Tajo\u003c\/b\u003e* - Bartolo (Bass)\u003cbr\u003e \u003cb\u003eWinifred Radford\u003c\/b\u003e - Barbarina (Soprano)\u003cbr\u003e \u003cb\u003eFergus Dunlop\u003c\/b\u003e - Antonio (Bass)\u003cbr\u003e \u003cb\u003eMorgan Jones\u003c\/b\u003e - Don Curzio (Tenor)\u003cbr\u003e\u003cbr\u003eThe Orchestra \u0026amp; Chorus of the Glyndebourne Mozart Opera\u003cbr\u003e Conducted by \u003cb\u003eFritz Busch\u003c\/b\u003e - Produced by Karl Ebert\u003cbr\u003e\u003cbr\u003eRecorded by HMV at Glydnebourne Theatre, Sussex, England: 6\/6\/34, 24\/6\/35, 28\/6\/35\u003cbr\u003e *Bartolo is sung by Norman Allin, except for La vendetta, oh, la vendetta, by Italo Tajo.\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrix\n numbers: Overture: 2ER86-I. Act I: 2ER45-II, 2ER46-II, 2ER41-I, \n2ER96-II, 2ER99-I, 2ER47-II, 2BR318-I, 2ER40-II. Act II: 2ER93-II, \n2ER94-II, 2ER95-I, 2BR319-1A, 2BR320-I, 2BR321-II, 2BR322.I, 2BR323-I, \n2BR324-IA. Act III: 2ER90-I, 2ER89-I, 2BR330-I, 2ER97-I, 2ER98-II, \n2BR325-IIA, 2ER43-I, 2ER44-I. Act IV: 2ER42-I, 2ER91-II, 2ER92-I, \n2BR326-I, 2BR327-I, 2BR328-II, 2BR329-I\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eVolume One originally released in 1934, Volumes 2 and 3 in 1935 as HMV catalogue numbers: DB2474-9, DBS2583, DB2584-8, DB2589-93\u003cbr\u003e\u003cbr\u003eTotal duration: 1hr 56:25\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO008.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO008.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":33991957197,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33991957325,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO008.jpg?v=1489421548"},{"product_id":"paco027","title":"CANTELLI Mozart: Requiem (1950) - PACO027","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem in D minor, K.626\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 50:59 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRenata Tebaldi, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eFedora Barbieri, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ealto\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiancinto Prandelli, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eCesare Siepi, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Scala Orchestra \u0026amp; Chorus\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Guido Cantelli\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO027.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe only recording of Cantelli conducting Mozart's Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFrom one of only four performances - with excellent notes by Keith Bennett\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eTo the best of my knowledge, this recording has only surfaced once \nbefore - on a CD from AS Disc released in 1989 and long since \ndisappeared. This recording, marred by heavy disc surface noise, \nelectrical hum, harsh sound and often unintelligible words, appeared to \nzip along at a healthy pace. This was caused by the entire recording \nbeing pitched a semitone high through the first half of the piece, and a\n tone high throughout the second half. The correction of this pitch \nserves to add some three minutes and forty seconds to the overall \nduration of the performance!\u003cbr\u003e\u003cbr\u003eI have endeavoured to do what I can \nwith the sound. It would appear that the original recordings was taken \nfrom an AM broadcast - certainly the limited frequency range would imply\n this. The restoration has been a battle to create as much \nintelligibility and clarity as possible, set against high noise levels, \nand to produce a finished recording that can not only be listened to but\n also enjoyed. I believe that this restoration finally achieves \nprecisely that for what is a unique historic document.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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\u003cb\u003eMOZART \u003c\/b\u003e\u003cspan\u003eRequiem in D minor, K.626\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording from Usher Hall, Edinburgh, 8th September 1950\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTransfer and XR remastering by Andrew Rose, August-September 2008\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 50:59 \u003c\/span\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003cbr\u003eRenata Tebaldi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eFedora Barbieri, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ealto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eGiancinto Prandelli, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCesare Siepi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLa Scala Orchestra \u0026amp; Chorus\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Guido Cantelli\u003c\/span\u003e\u003c\/b\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\/PACO027.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO027.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=\"bodybig\" align=\"center\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart - Requiem in D minor, K.626\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003enotes by Keith Bennett\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003eThe Composition of the Mozart Requiem\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhen the Countess Walsegg-Stuppach died on \n14 February 1791 her enthusiastic music-loving husband decided to \ncommission Mozart to compose a \u003cb\u003eRequiem\u003c\/b\u003e in her memory. He wanted \nthe commission to remain anonymous (he was in the habit of commissioning\n works from reputable composers and then passing the works off as his \nown). Thus a minion was sent to see Mozart and to persuade the composer \nto accept the commission for which 50 ducats was paid immediately as \nhalf of the honorarium. In Mozart’s usual financially impecunious \nsituation it is unlikely that any pressure was necessary. This meeting \nwith the mysterious “grey visitor” probably took place in the summer of \n1791.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe previous May Mozart had taken an unpaid\n position as Deputy Kapellmeister at the St Stephen’s Church and he \nprobably saw the commission as a way of composing a large-scale \nreligious work which would impress his employer. However, life was \nhectic for Mozart for the last six months of his life. He had hurriedly \ncompleted \u003cb\u003eLa clemenza di Tito \u003c\/b\u003ein a mere 18 days, written the \u003cb\u003eKleinen Freimaurer-Kantate\u003c\/b\u003e for his Masonic brethren and completed \u003cb\u003eDie Zauberflöte\u003c\/b\u003e\n on 28 September, conducting the première two days later. In the light \nof this activity it is understandable that when his wife Constanze \nreturned in the middle of October from taking the waters at Baden she \nwas so concerned at the deterioration in Mozart’s health that she took \nthe score of the Requiem away from him: by then he had only completed \nthe Introit and Kyrie. In November Mozart was taken ill. He died on 5 \nDecember.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eConstanze’s immediate problem was to get someone to complete the \u003cb\u003eRequiem\u003c\/b\u003e:\n Franz, Count Walsegg-Stuppach (unknown, of course) had paid the \nhonorarium and was entitled to receive the finished composition and no \ndoubt a further 50 ducats would have been welcome. After some \nunsuccessful attempts to get the work completed she had to use the \nservices of 25 year-old Franz Xaver Süssmayr, who had been a pupil of \nMozart’s, to undertake the completion. There was skulduggery afoot. \nObviously, with two completed sections in Mozart’s own hand anything \nprepared by Süssmayr would be detected at once as a fake, so everything \nhad to be in Süssmayr’s hand. That was done and no doubt Constanze \nreceived the 50 ducats due.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eSüssmayr has come in for much criticism \nover the years but a little charity would not be misplaced. The young \nman was probably learning his trade but he was neither a Mozart nor \nanother genius. He had to complete the instrumentation for the Sequenza \nand Offertorium and actually compose the music for the Sanctus, \nBenedictus and Agnus Dei. What if he had not carried out this task? It \nis perfectly feasible that Mozart’s own work would have been lost or \ndestroyed: who would want to keep a torso of a couple of sections of a \u003cb\u003eRequiem\u003c\/b\u003e?\n Scholars will keep trying to get closer to what Mozart wanted but the \nSüssmayr is, after over 200 years, still the version concertgoers are \nmost likely to hear.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003eGuido Cantelli – Mozartean Nonpareil\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eGuido Cantelli, unlike his mentor Arturo \nToscanini, was an admirable Mozartean. When he returned to conducting \nopera in January 1956, after a gap of eleven years, he produced and \ndirected \u003cb\u003eCosì fan tutte\u003c\/b\u003e at the newly opened Piccola Scala in \nMilan to such enthusiastic acclaim that additional performances had to \nbe arranged. His commercial recording of the \u003cb\u003eSymphony No.29 \u003c\/b\u003ewith the Philharmonia Orchestra was one of only six that Cantelli made in stereo\u003cb\u003e: \u003c\/b\u003ebut\n it is unique as being the only occasion when he recorded a work with \nthis orchestra which he had not previously included in concert with \nthese musicians. It can stand comparison with any more modern recording \nand his other commercial recording of \u003cb\u003eEine musikalischer Spaß \u003c\/b\u003e(also\n with the Philharmonia Orchestra and also in stereo) has the unique \nexperience of hearing probably the finest horn player ever – Dennis \nBrain – playing ‘out of tune’. Cantelli’s broadcast performances of some\n piano concertos – K466 with Serkin and K467 with Gieseking, both with \nthe Philharmonic-Symphony Orchestra of New York – are also worth seeking\n out.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eCantelli’s international career spanned a \nmere eight years (1949 – 1956) before his tragic death in an air crash. \nIt may come as a surprise to some that he only performed the \u003cb\u003eRequiem\u003c\/b\u003e\n on four occasions but an analysis of his brief career reveals that that\n there were another 105 works which he conducteded only four times or \nless. The \u003cb\u003eRequiem \u003c\/b\u003eperformances were all with the Orchestra e Coro\n della Scala and all in 1950: there were two performances in the Teatro \nalla Scala on 19 and 20 June and one at the Edinburgh Festival given on \nFriday, 8 September (preserved on this CD) – the soloists on those three\n occasions were Renata Tebaldi, Fedora Barbieri (although one source \nindicates that it was Maria Radev who sang the alto part in Milan), \nGiacinto Prandelli and Cesare Siepi: but for the final performance in \nthe Royal Opera House, Covent Garden on 22 September, Suzanne Danco \nreplaced Renata Tebaldi.\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cb\u003eThe Recorded Performance of Mozart’s Requiem\u003cbr\u003e given in the Usher Hall, Edinburgh on 8 September 1950\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003eGuido Cantelli conducts the Orchestra e Coro della Scala\u003cbr\u003e Maestro del Coro: Vittore Veneziani\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cspan class=\"body\"\u003ewith\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\u003cspan class=\"body\"\u003e \u003cb\u003eRenata Tebaldi\u003c\/b\u003e, soprano\u003cbr\u003e \u003cb\u003eFedora Barbieri\u003c\/b\u003e, alto\u003cbr\u003e \u003cb\u003eGiacinto Prandelli\u003c\/b\u003e, tenor \u003cbr\u003e \u003cb\u003eCesare Siepi\u003c\/b\u003e, baritone\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe “Mozart”\u003cb\u003e Requiem\u003c\/b\u003e is a hybrid: in the score of \u003cb\u003eNeue Ausgabe sämtlichr Werke \u003c\/b\u003e\n (published 1967) each movement indicates whether is was solely by \nMozart, by a combination of Mozart and Süssmayr or just by Süssmayr and \nthis is indicated in the table below as \u003cb\u003eM\u003c\/b\u003e, \u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e os \nS. Whatever the facts surrounding this composition, Cantelli conducts \nthe completion by Süssmayr (later editions have only appeared since \nCantelli’s death).\u003c\/p\u003e\u003cdl\u003e\u003cdd\u003e\n\u003ctable style=\"width: 460px;\" rules=\"GROUPS\" cellspacing=\"0\" cellpadding=\"2\" border=\"1\"\u003e\n\u003ccolgroup\u003e \u003ccol width=\"113\"\u003e \u003ccol width=\"25\"\u003e \u003c\/colgroup\u003e \u003ccolgroup\u003e \u003ccol width=\"187\"\u003e \u003c\/colgroup\u003e \u003ccolgroup\u003e \u003ccol width=\"37\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eIntroitus:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eRequiem\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cb\u003eM\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cb\u003eAdagio\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e4:37\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eKyrie\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cb\u003eM\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cb\u003eAllegro\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e2:44\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eSequentia:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eDies irae\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAllegro assai\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cspan class=\"body\"\u003e\u003cem\u003e\u003cb\u003e1:56\u003c\/b\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003e\u003cspan class=\"body\"\u003eTuba mirum\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAndante\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:24\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eRex tremendae\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e2:02\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003e\u003cspan class=\"body\"\u003eRecordare\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e6:13\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eConfutatis\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAndante \u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e2:35\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eLacrimosa ¶\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:59\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eOffertorium:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eDomine Jesu\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003eAndante con moto\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:43\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eHostias\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e\u003cem\u003e\u003cb\u003eMS\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\n\u003cem\u003e\u003cb\u003eAndante-\u003c\/b\u003e\u003c\/em\u003e\u003cem\u003e\u003cb\u003eAndante con moto\u003c\/b\u003e\u003c\/em\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e5:04\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eSanctus\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eS\u003c\/td\u003e\n\u003ctd width=\"223\"\u003eAdagio – Allegro\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e1:26\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eBenedictus\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eS\u003c\/td\u003e\n\u003ctd width=\"223\"\u003eAndante – Allegro\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e4:34\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eAgnus Dei\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eS\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\u003cem\u003e\u003cb\u003e-\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e3:24\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eCommunio:\u003c\/td\u003e\n\u003ctd width=\"40\"\u003e \u003c\/td\u003e\n\u003ctd width=\"223\"\u003e \u003c\/td\u003e\n\u003ctd width=\"46\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"125\"\u003eLux aeterna†\u003c\/td\u003e\n\u003ctd width=\"40\"\u003eSM\u003c\/td\u003e\n\u003ctd width=\"223\"\u003e\n\u003cb\u003e(Adagio) –\u003c\/b\u003e Allegro – Adagio\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\u003cem\u003e\u003cb\u003e5:18\u003c\/b\u003e\u003c\/em\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/dd\u003e\u003c\/dl\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e¶ The first eight bars are by Mozart \u003cbr\u003e † Süssmayr used Mozart’s opening \u003cb\u003eIntroitus\u003c\/b\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhat of Cantelli’s interpretation? Prior to\n this performance the Orchestra e Coro della Scala had given a \nperformance of a very different \u003cb\u003eMessa da Requiem\u003c\/b\u003e, Verdi’s, on the\n previous Monday under the most senior conductor on the tour, Victor de \nSabata. The Verdi sweeps an audience off its feet and – on a personal \nnote – that is exactly what happened when I heard the \u003cb\u003eMessa da Requiem \u003c\/b\u003efor\n the first time. Such was the impact that when I came out of the Royal \nAlbert Hall (which I had visited dozens of times), I took a wrong \nturning and missed the last coach home 40 miles away (incidentally, that\n performance was conducted by Victor da Sabata and my recollection of \nhis somewhat demonic appearance on the rostrum was perfectly described \nby one of the London Philharmonic Orchestra’s musicians as ‘a cross \nbetween Julius Cæsar and Satan’.).\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe more restrained Mozart \u003cb\u003eRequiem \u003c\/b\u003eis\n a very different matter. When de Sabata made his commercial recording \nat least one critic considered the performance to be ‘Verdian’ no doubt \nin an attempt to describe the recording as too theatrical. Note, for \nexample that four of the movements have no tempo indication (presumably \nthe beginning of \u003cspan style=\"text-decoration: underline;\"\u003eLux aeterna\u003c\/span\u003e would be \u003cem\u003eAdagio \u003c\/em\u003esince\n Süssmayr used Mozart’s opening of the Requiem) which is an invitation \nto an exaggerated response for some conductors. While Cantelli usually \nobserves the tempi indications he is very slow for the opening \u003cem\u003eAndante \u003c\/em\u003ein the \u003cspan style=\"text-decoration: underline;\"\u003eHostias\u003c\/span\u003e but that ensures that there is a clear difference to be heard when the \u003cem\u003eAndante con moto \u003c\/em\u003efollows\u003cem\u003e. \u003c\/em\u003eAnother change from the printed tempo indications is in the \u003cspan style=\"text-decoration: underline;\"\u003eSanctus\u003c\/span\u003e which is not an \u003cem\u003eAdagio. \u003c\/em\u003eAs\n mentioned earlier, the Mozart is certainly more restrained than the \nVerdi but the chorus sings with a fervour which brings out more of the \ndrama than is usually heard and that is no doubt due to the fact that \nCantelli keeps things moving (in the main); perhaps that fervour is a \nlittle too close to theatrical drama but at least the Chorus sounds \nenthusiastic and involved. A major difference between the Mozart and the\n Verdi is that there are no set pieces for the individual soloists and \nthey participate as a sort of ‘mini-chorus’. Cantelli’s soloists are \nRenata Tebaldi (who had already sung with Toscanini as a 24 year-old in a\n concert in the newly re-opened Teatro alla Scala during 1946), Fedora \nBarbieri, Giacinto Prandelli and Cesare Siepi who were well-established \nin the operatic field – indeed, Giacinto Prandelli had first sung under \nCantelli’s direction in May 1944. The voices need to blend and \nCantelli’s long experience of conducting choral forces from his student \ndays, allied to a very sure stick technique, ensures that soloists and \nchorus knew their roles perfectly. While the performance is not \nparticularly reverent or devout at least it avoids any taint of \nsentimentality which, for this listener at least, is to Cantelli’s \ncredit.\u003c\/p\u003e\u003cblockquote\u003e\n\u003cp class=\"body\" align=\"right\"\u003e© 2008 Keith Bennett\u003c\/p\u003e\n\u003c\/blockquote\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eKeith Bennett \u003c\/b\u003eis the author of \u003cb\u003eGuido Cantelli – Just Eight Years of Fame. \u003cbr\u003e \u003c\/b\u003eFurther details available from GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk IP12 4UL, UK. \u003cbr\u003e (email: \u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\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":"Mono 24-bit FLAC","offer_id":33988048077,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33988048141,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33988048205,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":33988048269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO027.jpg?v=1489412579"},{"product_id":"pasc455","title":"COATES Mozart: Symphony No. 41; Beethoven: Symphony No. 3 (1926-27) - PASC455","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 41\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Impresario, Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3\u003c\/span\u003e\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\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eHMV Studio Recordings ∙ 1926 – 1927\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:42\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\"Symphony Orchestra\"\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe LSO play with fire and conviction, while the spruced up 1926 Kingsway Hall recorded sound is the best we’re ever likely to hear578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBorn in Russia of English \nparents—as a boy, he once played for Tchaikovsky—Albert Coates studied \nwith Rimsky-Korsakov in St. Petersburg (where his father was a \nsuccessful businessman) and in Leipzig with Arthur Nikisch, who gave him\n his first job as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003erépétiteur\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at the Leipzig Opera. By 1910, he had made his debut with the London \nSymphony, serving as its chief conductor from 1919 to 1922, after which \nhe never again held a permanent post in Britain. Along with famously \nspoiling the world premiere of Elgar’s Cello Concerto by allotting the \ncomposer insufficient rehearsal time, he made some of the great \nrecordings of the 78-rpm era, including the 1929 Frieda Leider\/Lauritz \nMelchior recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003elove duet whose vocal opulence and sheer intensity have yet to be surpassed. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCoates’s 1926 recording of Mozart’s “Jupiter” Symphony begins with an \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro vivace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewhose\n sheer blistering speed beggars the imagination, although incredibly \nenough the acoustical version from 1923 is even faster. (Coates was \nfamous for unbuttoned tempos: Witness that breathlessly exhilarating \nversion of Borodin’s Second Symphony.) The craziest thing is how \nconvincing it becomes on repeated hearings, as shock gives way to \ndumbfounded amazement which yields open admiration. At very least, as \nproducer Mark Obert-Thorn correctly points out, “Conventional wisdom \nmaintains that the Historically Informed Performance movement rescued \nClassical-era works from the stodginess of big orchestra performances. \nThe present recordings are, perhaps, exceptions that prove the rule.” \nWhile the elegantly shaped second movement and bouncing minuet are far \nmore normal, the finale underscores the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emolto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emolto allegro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emood\n indication, and—as in the opening movement—the conductor observes the \nexposition repeat. Although clearly at odds with today’s belligerent \nneo-Puritanism, this—and a genuinely mad, three-and-a-half minute \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eImpresario \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture—is a heartening reminder of a kind of interpretive individuality and courage that have all but vanished today. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTempos in the Coates “Eroica” are \nbrisk but never break-neck, with a quarter-hour funeral march that tugs \nat the heart-strings in a direct and very moving way. The oozing string \nslides that were Mengelberg’s signature in Beethoven (and elsewhere) are\n almost entirely absent, and what rubato creeps in is applied in a \nuniformly tasteful manner. Apart from a scherzo that clocks in at under \nfour minutes—a combination of a snappy tempo and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eno \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erepeats—the outer movements sound surprisingly modern, with a bracing sense of inevitability in the most famous of all \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n and a sequence of variations which—as in all great performances—add up \nto considerably more than the sum of their richly various parts. The \nLSO—as the “Symphony Orchestra” on the labels almost certainly was—play \nwith fire and conviction, while the spruced up 1926 Kingsway Hall \nrecorded sound is the best we’re ever likely to hear. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cb\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\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC455.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCoates' astonishing 1920s Beethoven \u0026amp; Mozart\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Mozart’s\n “Jupiter” Symphony begins with an Allegro vivace whose sheer blistering\n speed beggars the imagination ... a heartening reminder of a kind of \ninterpretive individuality and courage that have all but vanished today\"\u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eConventional wisdom maintains that the Historically Informed \nPerformance movement rescued Classical-era works from the stodginess of \nbig orchestra performances.  The present recordings are, perhaps, \nexceptions that prove the rule.  No one could ever accuse Albert Coates \n(1882 - 1953) of being stodgy in \u003cem\u003eany\u003c\/em\u003e repertoire; but his tempi \nin the works of Mozart and Beethoven stand out particularly in the \ncontext of most other conductors of his era.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCoates had previously recorded Mozart’s \u003cem\u003eJupiter\u003c\/em\u003e \nSymphony acoustically in 1923 (reissued on Pristine PASC 298), a \nperformance whose tempos are, amazingly, even faster than the present \nelectrical remake, although its running time is longer due to the \ninclusion there of the second movement repeat.  The \u003cem\u003eImpressario\u003c\/em\u003e\n Overture was the filler side for both versions.  Both the symphony and \nthe overture were recorded at an August, 1927 session, incongruously \nseparated by excerpts from \u003cem\u003eDie Walküre\u003c\/em\u003e and \u003cem\u003eGötterdammerung\u003c\/em\u003e\n for the “Potted Ring”, and the first movement was re-recorded at makeup\n session two months later.  The fact that HMV chose Coates to do the \nelectric remake suggests that both they and the public did not find his \ntempi to be unacceptably outrageous.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf the tempos of the \u003cem\u003eJupiter\u003c\/em\u003e still seem a bit extreme, the \u003cem\u003eEroica\u003c\/em\u003e\n would strike today’s sensibilities as perfectly acceptable, with crisp \nexecution and an inevitable forward momentum.  Coates had already \nrecorded the Beethoven Seventh twice, both acoustically (PASC 298) and \nan unpublished early electric, and the Ninth had similarly been done in \nboth acoustic and electric (PASC 296) versions.  Clearly, HMV looked \nupon Coates as their “go-to” conductor for this repertoire.  It is odd, \nover a year into electrical recording, to hear acoustic-style tuba \nreinforcement of the bass lines; yet, this practice was to continue even\n into the Kreisler\/Blech Beethoven Violin Concerto, recorded in Berlin \nat the end of 1926.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA word is in order about the unnamed “Symphony Orchestra” heard\n in the Beethoven.  At the time it was recorded, the London Symphony \nOrchestra was under contract to the rival Columbia label.   Coates had \nbeen the principal conductor of the LSO from 1919 to 1922, and he \ncontinued to be closely associated with the ensemble.  It is likely that\n the anonymous orchestra is in whole or greater part the LSO.  By 1927, \nthe orchestra was under exclusive contract to HMV, and is so credited \nfor the Mozart recordings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe quietest shellac sources were used for the present \ntransfers – the best sides from two copies each of prewar US Victor “Z” \npressings for the Mozart (album M-30) and a late prewar black label \nVictor reissue (set G-2) of the Beethoven. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 41 in C major, K.551 ‘Jupiter’\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 26 August and 25 October 1927 in Queen’s Hall, London\u003cbr\u003eMatrix nos. - CR 1476-3A, 1477-2, 1478-2A, 1479-2A, 1480-2A, 1481-1A and 1482-1A\u003cbr\u003eFirst issued on HMV D 1359\/62\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003e The Impressario, K. 486 (Der Schauspieldirektor) - Overture \u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 26 August 1927 in Queen’s Hall, London\u003cbr\u003eMatrix nos. - CR 1488-1A\u003cbr\u003eFirst issued on HMV D 1362\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003e Symphony No. 3 in E flat major, Op. 55, ‘Eroica’\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 16 September and 26 October 1926 in Kingsway Hall, London\u003cbr\u003eMatrix nos. - CR 678-3A, 679-1, 680-2A, 681-1A, 682-1A, 683-1A, 684-3A, 685-1,  686-1, 687-1 and 688-1\u003cbr\u003eFirst issued on HMV D 1158\/63\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC455.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC455.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":31975470093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975470157,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC455.jpg?v=1773741403"},{"product_id":"pacm032","title":"FOURNIER, JANIGRO \u0026 BADURA-SKODA Mozart: Piano Trios, Vol. 1 (1953) - PACM032","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDivertimento in B flat major, K.254\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio in G major, K.564\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio in B flat major, K.502\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1953, Konzerthaus, Mozart-Saal, Vienna\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 61:23\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775CA0\" style=\"padding-left: 30px\"\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003c\/p\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM032.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFournier, Janigro and Badura-Skoda play Mozart\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe complete Piano Trios Pt. 1, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eWe continue \nour re-evaluation of recordings made by Jean Fournier, Antonio Janigro \nand Paul Badura-Skoda with their complete Mozart Piano Trios, of which \nthis is the first of two volumes. The first of these, written in August \n1776, was entitled a \u003cem\u003eDivertimento\u003c\/em\u003e by the composer and came some ten years before the Trio in B flat (\u003cem\u003eK502\u003c\/em\u003e). Its style is perhaps closer to a violin sonata, with the cello largely relegated to echoing the bass line of the piano.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThat said, the violin hardly takes centre stage in the \u003cem\u003eDivertimento\u003c\/em\u003e\n either - indeed in all three works here we find excellent piano music \nsupported by violin and underpinned by cello. Indeed these works rate \namongst Mozart's finest compositions for the piano - the Trio in G (\u003cem\u003eK564\u003c\/em\u003e) was originally conceived as a piano sonata, with the string parts added some time later.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThus we have \nsome marvellous Mozart, which is perhaps nowhere near as well known as \nit deserves to be (a check in the recording catalogues shows not a \nsingle LP available in the UK of Mozart's trios in the late 1970s, for \nexample), superb playing, and excellent recordings brought back to life \nthanks to the mercurial touch of vinyl maestro Peter Harrison. Take a \nlisten to our sample, the opening movement of the \u003cem\u003eDivertimento,\u003c\/em\u003e and see if you can resist it!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003eDivertimento in B flat major, K.254\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Trio in G major, K.564\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Trio in B flat major, K.502\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded c.1953, Konzerthaus, Mozart-Saal, Vienna\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eReleased as Westminster\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e LPs 52-84 \u0026amp; 52-42\u003c\/span\u003e\u003cbr\u003eDuration 61:23\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\n\u003c\/ul\u003e\n\u003cp\u003e\u003cb\u003eJean Fournier\u003c\/b\u003e, violin \u003cbr\u003e \u003cb\u003ePaul Badura-Skoda\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eAntonio Janigro\u003c\/b\u003e, cello\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\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\/PACM032.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM032.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":31463419789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31463419853,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM032_b79cdaa1-9bad-4612-9413-203baf5023ef.jpg?v=1487682095"},{"product_id":"pacm033","title":"FOURNIER, JANIGRO \u0026 BADURA-SKODA Mozart: Piano Trios, Vol. 2 (1953) - PACM033","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio in E major, K.542\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio in G major, K.496\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio in C major, K.548\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1953, Konzerthaus, Mozart-Saal, Vienna\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eReleased as Westminster LPs 52-42, 52-67\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 65:18\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJean Fournier, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAntonio Janigro, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePaul Badura-Skoda, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM033.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFournier, Janigro and Badura-Skoda play Mozart\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe complete Piano Trios Pt. 2, remastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003eWe continue our reevaluation of recordings made by Jean Fournier, Antonio Janigro and Paul Badura-Skoda with their complete Mozart Piano Trios, of which this is the second of two volumes.\u003cbr\u003e\u003cbr\u003eThe of the three works presented here, the Trio in G, K496, dates from 1786, the other two from 1788, the year in which Mozart wrote his three last symphonies. All three are in impeccable Mozartian taste, though it is only with the later two that we start to see him considering something a little more adventurous for the cellist than had previously been the case. Up until these works, the cello part generally offered simple support to the piano's lower notes, but in the middle movement of the Trio in E, K542, there is the suggestion of the kind of balance of forces between piano and strings which would later be more typical of Beethoven or Schubert.\u003cbr\u003e\u003cbr\u003eSimilarly it is the slow middle movement of the Trio in C, K549, which appears to foreshadow Schubert, a composer more usually associated with the lineage of Beethoven and Haydn. The final movement is purely Mozartian, a \"tightly written\" rondo (in the words of the original sleevenotes) and it is this which is offer when you click on the play button here.\u003cbr\u003e\u003cbr\u003eThus we have some marvellous Mozart, which is perhaps nowhere near as well known as it deserves to be (a check in the recording catalogues shows not a single LP available in the UK of Mozart's trios in the late 1970s, for example), superb playing, and excellent recordings brought back to life thanks to the mercurial touch of vinyl maestro Peter Harrison.\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Trio in E major, K.542\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Trio in G major, K.496\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Trio in C major, K.548\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded c.1953, Konzerthaus, Mozart-Saal, Vienna\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eReleased as Westminster\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e LPs 52-42, 52-67\u003c\/span\u003e\u003cbr\u003eDuration 65:18\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJean Fournier, \u003c\/b\u003eviolin \u003cb\u003e\u003cbr\u003e Paul Badura-Skoda, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eAntonio Janigro, \u003c\/b\u003ecello\u003cbr\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\/PACM033.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM033.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":31335983611965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31335983644733,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM033.jpg?v=1575541454"},{"product_id":"pasc400","title":"FRICSAY Beethoven: Piano Concerto No. 3, Triple Concerto (1957-60) - PASC400","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTriple Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e2 Concert Rondos (K.382, K.386) (download-only)\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo, 1957, 1959 \u0026amp; 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 89:42 (CD: 72:39)\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnnie Fischer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGéza Anda, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWolfgang Schneiderhan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePierre Fournier, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello \u003c\/span\u003e\n\u003c\/div\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cdiv\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBavarian State Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/div\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Radio Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFerenc Fricsay, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA memento of treasurable artists at their very best.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCombining two Beethoven concerto \nrecordings by Ferenc Fricsay is a splendid idea. As we know from his \nstriking and individual “Eroica” in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGreat Conductors of the 20th Century\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n set, Fricsay is a Beethoven conductor of passion and brilliance. His \nThird Piano Concerto with Annie Fischer is a great recording. The two \nHungarians have a heightened rapport with each other. Fricsay’s opening \ntutti in the first movement is vigorous and lyrical at the same time, \nwith a contrast of light and shade as in an etching. Fischer takes up \nthis mood with a big but beautifully articulated sound. She employs just\n enough rubato to give the music a sense of flow. The movement is \nabsolutely \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003econ brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with Fischer and Fricsay creating drama even in quiet moments. Her \ncadenza is an immense accomplishment, exhibiting the quality of the \nimprovisations Beethoven was famous for. Fischer establishes a rapt mood\n at the start of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n As the movement proceeds, her playing acquires the charm appropriate to\n a light, romantic episode. Fricsay’s accompaniment is full of subtle \ncolors. The Rondo begins with the music being propelled along, though \nwith no heavy-handedness. Fischer’s playing sparkles. The music making \nhere combines depth with energy. The coda is like a gemstone in a \nperfect setting. Andrew Rose’s remastering is excellent, achieving a \nsense of both space and color. He has left in just enough tape hiss to \npreserve tonal vibrancy. As he notes, intercutting between takes in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecauses the image of the piano to shift at times, but this is not unduly disturbing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe recording of the Triple Concerto is\n justly famous. Fricsay sets a spacious tempo at the start that brings \nout the majesty of the opening movement. The exchanges between the \nsoloists are civilized and gently Romantic. Schneiderhan and Fournier \ncould not play more elegantly. Anda’s contribution here is more \npropulsive and agitated, what we think of as traditionally Beethovenian.\n In the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, \nFournier’s entrance is the stuff of legends. The trio blends \nbeautifully, taking the lead away from Fricsay. The concluding Rondo \npossesses a winsome quality. Schneiderhan plays with a gloriously \nsinging tone. The development section’s Polish rhythms are brought out \nby all concerned. The work’s conclusion has dash, élan, and, what’s \nmore, wit. I have the LP of this recording, so I was able to hear what \nAndrew Rose did in his remastering. He has increased substantially the \nair surrounding the performers. The balance among the soloists is \nimproved, as is that between the trio and the orchestra. The tone \nquality of the Berlin Radio Symphony here is truthful to what we hear on\n their broadcast recordings under Fricsay. I enjoyed Rose’s rather \ninterventionist take on this recording very much. That said, I still \nprefer the LP. Its up-close perspective on the performers enhances the \nchamber music feel of this score. Most importantly, the tone quality of \nthe instruments is so much richer that at times I feel like I’m hearing a\n different performance than the one on the CD. If you only want this \nrecording on CD, Rose’s edition will do, but to really experience what \nthe artists have accomplished you need the LP. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eOther renditions I like of the Third \nConcerto are the remastered version by Alfred Brendel with James Levine,\n which I prefer to Brendel’s final recording with Simon Rattle, and the \nCD by Peter Rösel with Claus Peter Flor. Karajan’s disc of the Triple \nConcerto with Richter, Oistrakh, and Rostropovich certainly is the equal\n or greater of Fricsay’s, not least for the increased intimacy in the \nRussians’ playing. I once heard a gorgeous account of the Triple \nConcerto in concert with the Kalichstein-Laredo-Robinson Trio and the \nNew Jersey Symphony, Jaime Laredo demonstrating remarkable conductorial \ncontrol over the orchestra while playing his solos. If you don’t know \nthe Fricsay recordings of these concertos, by all means get this CD. It \nis a memento of treasurable artists at their very best. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:5 (May\/June 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC400.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFricsay a masterful maestro with brilliant soloists Fischer, Anda, Schneiderhan \u0026amp; Fournier\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This would be my own choice\" - \"I have never heard it better played\" - The Gramophone, 1961\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBoth of these recordings were essentially very well made, and these \nnew transfers have, with XR remastering, built on very fine originals a \nclean, clear and full sound that in both cases might have been recorded \njust last week, rather than more than fifty years ago. One problem did \nrear its head in the second movement of the piano concerto, where cuts \nbetween takes caused considerable jumps in the stereo soundstage's \nintended centre image. These I have attempted to ameliorate as much as \npossible, though the careful listener on headphones may still spot the \njoins.\u003c\/p\u003e\u003cp\u003eThat said, this is unlikely to detract from these wonderful performances and recordings.\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3 in C minor, Op. 37\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 3 December, 1957\u003cbr\u003eHerkulesaal, Munich\u003cbr\u003eIssued as DGG SLPM 138087\u003cbr\u003e\u003cb\u003eAnnie Fischer, piano\u003cbr\u003eBavarian State Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBEETHOVEN \u003c\/b\u003e Triple Concerto in C major, Op. 56\u003cbr\u003eRecorded 1 May, 1960\u003cbr\u003eJesus Christus-Kirche, Berlin\u003cbr\u003eIssued as DGG SLPM 136236\u003cbr\u003e\u003cb\u003eGéza Anda, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eWolfgang Schneiderhan, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003ePierre Fournier, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eBerlin Radio Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e*MOZART Concert Rondo in D, K.382\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e*MOZART Concert Rondo in A, K.386\u003c\/b\u003e\u003cbr\u003eHerkulesaal, Munich\u003cbr\u003eIssued as DGG SLPM 138087\u003cbr\u003e\u003cb\u003eAnnie Fischer, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eBavarian State Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eFerenc Fricsay, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cb\u003e*\u003c\/b\u003e\u003cb\u003eDownload only: \u003c\/b\u003e due to lack of space on the CD disc, these tracks are download-only. They are included in all downloads. \u003c\/em\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\/PASC400.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC400.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":57542770714,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":57542803482,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":57542836250,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC400.jpg?v=1501146603"},{"product_id":"paco075","title":"FURTWÄNGLER Mozart: Die Zauberflöte, Symphony No. 39 (1951\/1944) - PACO075","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Zauberflöte\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 39 in E flat\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDie Zauberflöte\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e Recorded Salzburg, 6 August 1951. Total duration: 2hr 51:54 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eSymphony No. 39\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e Recorded Berlin, 8 February 1944. Total duration: 27:59 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilma Lipp, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eKönigin Der Nacht\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIrmgard Seefried, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePamina\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnton Dermota, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eTamino\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna State Opera Chorus\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Furtwängler,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Conductor \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO075.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eTwo fabulous live Mozart recordings from Furtwängler\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe legendary 1951 Salzburg Magic Flute and his 1944 Berlin Symphony 39 sonically transformed!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eDie Zauberflöte \u003c\/b\u003eThat\n we have a recording of this superlative live performance at all is to \nan extent a matter of luck and good fortune. The original broadcast by \nAustrian Radio was apparently recorded, but the tapes were later \ndestroyed. Thus it has been reconstructed from off-air recordings, and \nas a result there are a number of additional hurdles to be jumped when \nrestoring such material. I have worked here from a secondary source. On \nthe whole this has been very successful - I've been able to rescue some \nfine sound quality, particularly in the musical sections. Some of the \nspeech sections, however, have suffered from very heavy-handed treatment\n before me, and it shows.\u003c\/p\u003e\u003cp class=\"body\"\u003eNevertheless, the overall impression is excellent. I've \nmanaged to greatly improve the general sound quality through 32-bit XR \nremastering , as well as deal with a number of wayward pitch issues \nwhich saw significant drifts up and down across the opera. A careful \nanalysis of the recording's residual electrical mains hum suggests an \noriginal tuning of somewhere around A=445, and it is to this pitch that \nI've tuned the final master.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eSymphony No. 39\u003c\/b\u003e This live recording was one of a \nnumber recorded during the Second World War for broadcast in Germany \nwhich ended up spending a number of years in the Soviet Union prior to a\n rash of reissues on different labels in recent years. The sound quality\n of the original was typically brash and harsh, making it quite a hard \nlisten (one reviewer of a previous issue referred to it as \"dismal\").\u003c\/p\u003e\u003cp class=\"body\"\u003ePristine's 32-bit XR remastering has made a huge \ndifference to this, and has really brought out the full and clear sound \nof Furtwängler's Berlin Philharmonic in a way previously unheard in this\n particular performance. It is one of those transformations which is \nboth stunning and - unfortunately - also revealing of some of the \ninsurmoutable faults of the original. There is inescapable peak \ndistortion in the louder sections, which also suggest a degree of \ncompression in the original recording, for example. It also feels odd to\n hear a Mozart symphony in the hands of such powerful forces as \nFurtwängler musters here. As with Die Zauberflöte there was clear \nevidence in the recording to suggest the orchestra was tuned to a pitch \nof A=445Hz.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDie Zauberflöte\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Broadcast recorded at the Salzburg Festival, 6 August 1951\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eJosef Greindl\u003c\/b\u003e\u003cspan\u003e Sarastro\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eAnton Dermota\u003c\/b\u003e\u003cspan\u003e Tamino\u003c\/span\u003e\u003cbr\u003e \u003cb\u003ePaul Schöffler\u003c\/b\u003e\u003cspan\u003e Sprecher\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFred Liewehr\u003c\/b\u003e\u003cspan\u003e Erster Priester\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFranz Hobling\u003c\/b\u003e\u003cspan\u003e Zweiter Priester\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eWilma Lipp\u003c\/b\u003e\u003cspan\u003e Königin Der Nacht\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eIrmgard Seefried\u003c\/b\u003e\u003cspan\u003e Pamina\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eChristel Goltz\u003c\/b\u003e\u003cspan\u003e Erste Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eMargherita Kenney\u003c\/b\u003e\u003cspan\u003e Zweite Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eSieglinde Wagner\u003c\/b\u003e\u003cspan\u003e Dritte Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eErich Kunz\u003c\/b\u003e\u003cspan\u003e Papageno\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eEdith Oravez\u003c\/b\u003e\u003cspan\u003e Papagena\u003c\/span\u003e\u003cbr\u003e \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cspan\u003e Monostatos\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eHannelore Steffek\u003c\/b\u003e\u003cspan\u003e Erster Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eLuise Leitner\u003c\/b\u003e\u003cspan\u003e Zweiter Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFriedl Meusburger\u003c\/b\u003e\u003cspan\u003e Dritter Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eHans Beirer\u003c\/b\u003e\u003cspan\u003e Erster Geharnischter\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFranz Bierbach\u003c\/b\u003e\u003cspan\u003e Zweiter Geharnischter\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003e Vienna State Opera Chorus\u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e Wilhelm Furtwängler \u003c\/b\u003econductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony 39 in E flat major, K543\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Broadcast performance recorded at the State Opera House, Berlin, 8 February 1944\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Wilhelm Furtwängler \u003c\/b\u003econductor \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBroadcast performances, Salzburg 1951, Berlin 1944\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, March 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Furtwängler and The arrival of the Queen of the Night - stage set by Karl Friedrich Schinkel (1781–1841) for an 1815 production. Gouache, Stiftung Preußischer Kulturbesitz, Staatliche Museen, Berlin.\u003cbr\u003eDie Zauberflöte Recorded Salzburg, 6 August 1951. Total duration: 2hr 51:54\u003cbr\u003eSymphony No. 39 Recorded Berlin, 8 February 1944. Total duration: 27:59\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\/PACO075.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO075.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Gramophone Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003e\"This is an antidote, perhaps too strong a one, to the \nswift, period-instrument versions to which we have been growing \naccustomed. Furtwängler's reading is deliberate, spiritually inclined, \nromantic in the extreme with long \u003cem\u003erallentandos\u003c\/em\u003e at cadential \npoints, stretching his singers to their limits yet, paradoxically, never\n becoming heavy because of the translucency of the playing. Whether his \napproach is 'right' or 'wrong' seems irrelevant in the light, and that \nis the right word, of the conductor's deep empathy with the depth and \nsincerity of the score's serious side— listen to the sense of conviction\n in the Priests' chorus. His reading also leaves room for the orchestra,\n intricately rehearsed, to project the details in the score, as for \ninstance, the pizzicato underlying the announcement of the three Boys, \nor the rnarcato in the upward string figure accompanying the second half\n of \"\u003cem\u003eIn diesen heil'gen Hallen\u003c\/em\u003e\". And would one really ask for a faster tempo for \"\u003cem\u003eBei Mannern\u003c\/em\u003e\" when Furtwängler's allows his Pamina and Papageno to sing it with such breadth and warmth?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAnd what a Pamina and Papageno we have here. Seefried \nand Kunz took those roles in the roughly contemporaneous EMI recording \n(November 1950) under Karajan, but there they were in a studio \nenvironment and not permitted any dialogue. Here, in the context of a \nlive performance at the Salzburg Festival, their interpretations are \nthat much more involving. Kunz, in particular, benefits; his is an \nendearing, light, smiling, unforced account of the birdcatcher's words \n(delivered in an \u003cem\u003eecht\u003c\/em\u003e Viennese accent) and music. It is one of \nthe most persuasive performances of Papageno on disc. Seefried's appeal \nin her role is well-known, and she is here at her most glowing and \nfervent, even managing the conductor's very slow speed for her G minor \naria. This being virtually the Vienna cast of the day, Dermota is again \nher Tamino, so smooth and fluent, yet characterful in his traversal of \nthe part, observing all the Mozart verities, even when sorely pressed by\n his conductor to maintain his line. What Innigkeit he brings to the \nscene with Pamina before the trials!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eLipp's Queen of Night is not quite as fluent as for \nKarajan in the studio, with moments of variable pitch in her second \naria. Greindl, Salzburg's Sarastro over many years, also has his \nintonation problems, but presents a noble, grave portrait, very much in \nkeeping with, and trained to, his conductor's ideas. Klein's Monostatos \nis suitably vicious. We are consoled for a somewhat squally trio of \nLadies by the ethereal purity and beauty of the Boys, led by the young \nSteffek.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sound is on a par with the Furtwängler\/ EMI \u003cem\u003eFidelio\u003c\/em\u003e\n (12\/93) of the previous year, which means occasional distortion in the \nsoprano voices, a few stage noises and a deal of applause at the end of \nnumbers. However, considering this radio tape is not the original (which\n was destroyed) but one privately made and in the collection of the \nconductor's widow, the sound is truly remarkable. Even in those early \ndays, Austrian Radio achieved an excellent balance between stage and \npit. As with \u003cem\u003eFidelio\u003c\/em\u003e, we are once more present at a historic \noccasion, and share a tradition virtually lost today. It won't be \nanyone's first choice, yet I would put aside many more recent recordings\n in favour of this one. I even prefer it to the classic 1937-8 Beecham \nand 1964 Klemperer versions, set in the same mould, simply because it is\n live and includes dialogue, without which any \u003cem\u003eZauberflöte\u003c\/em\u003e is, for me, incomplete.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eAlan Blyth, Gramophone \u003c\/b\u003eJanuary 1996 (EMI CD issue)\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":33844468365,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33844468429,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33844468493,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33844468557,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO075.jpg?v=1489155433"},{"product_id":"paco078","title":"GIULINI Mozart: Don Giovanni (1959) - PACO078","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDon Giovanni\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStereo recording, 1959 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 42min\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eEberhard Wächter\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Don Giovanni \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoan Sutherland\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Donna Anna \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eLuigi Alva\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Don Ottavio \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eGottlob Frick\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Commendatore \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eElisabeth Schwarzkopf\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Donna Elvira\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Orchestra \u0026amp; Chorus \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Carlo Maria Giulini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe now celebrated Pristine Audio XR re-mastering treatment by Andrew Rose has rendered it superlative: warm, clear and spacious.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAlthough previous issues going back to 1987 are fine, EMI managed to botch \n                  its 2002 re-mastering of this famous recording in their \u003ci\u003eGreat \n                  Recordings of the Century\u003c\/i\u003e series, which is muffled, with \n                  all the upper frequencies removed. I found a very acceptable \n                  alternative in an issue on the Alto label which retains a little \n                  background hiss but no more than I would expect from a 1959 \n                  recording transferred from LPs, the very occasional click being \n                  in evidence. However, this Pristine transfer from clean LPs \n                  is now easily the best option: some slight sharpness in the \n                  LPs has been corrected, all clicks removed and the now celebrated \n                  Pristine Audio XR re-mastering treatment by Andrew Rose has \n                  rendered it superlative: warm, clear and spacious. The original \n                  EMI engineering was in any case always very good indeed. \u003cbr\u003e\n                    \u003cbr\u003e\n                  For all its fame and excellence, there are reasons to deny this \n                  account the epithet \"perfect\" - but a heck of a lot is very \n                  right indeed, starting with Giulini's magisterial direction, \n                  which is sprung, flexible and subtle, with none of the excessive \n                  leisureliness which sometimes afflicted his later conducting. \n                  The Philharmonia Orchestra is simply wonderful. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The cast is superb, though I have reservations about a couple \n                  of things, starting with Taddei's tendency to ham it up too \n                  much with some nasal affectations and barking to accentuate \n                  things that are already intrinsically funny and are better delivered \n                  in a sly rather than a histrionic manner. He also loses tonal \n                  quality too often, such as in an ugly sustained D on \"maestosa\". \n                  Nonetheless, he is a good foil to Wächter's silky Don in \n                  their quick-fire exchanges, despite their voices being too similar \n                  in recitative if you are used to a bass such as Siepi or Ghiaurov \n                  as the Don. Wächter is aggressive, driven and able to signal \n                  that he is deliberately and cynically turning on the seductive \n                  charm to further his sex addiction. Many will welcome a baritone \n                  Don as more appropriate both to the tessitura of the music and \n                  the character of opera’s favourite roué. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Sutherland's Donna Anna is a surprise and simply the best on \n                  record: agile, huge and gorgeous of tone and even well characterised \n                  in so far as it is possible to enliven such a starchy soul. \n                  The contrast with Schwarzkopf's febrile Elvira is telling; she \n                  had already been singing this role for a decade and it suited \n                  her voice and talents ideally. Luigi Alva sings with both more \n                  beauty of line and steel in his tone than I had remembered. \n                  Sciutti is average as Zerlina, Cappuccilli hectoring as Masetto \n                  and the great Gottlob Frick very unsteady indeed in the opening \n                  scene - but he warms up nicely for an appropriately chilling \n                  and sepulchral Commendatore in the crucial final showdown. \u003cbr\u003e\n                  \u003cbr\u003e\n                  As is normally the case with Pristine, there is little in the \n                  booklet apart from the tracking cues, excerpts from a “Gramophone” \n                  review of a previous issue and a note from the engineer; otherwise \n                  one may go online for full programme notes. What is presumably \n                  a printing error on the spine of my review copies suggests that \n                  the catalogue number is 077; however, on the reverse covers, \n                  the discs themselves and the Pristine website the three discs \n                  are is listed as 078A, B and C.   \u003cbr\u003e\n                  \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eRalph Moore \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO078.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\"Without question one of the supreme recordings of the twentieth century\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSounding better than ever before in this new transfer and XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eWith this recording apparently out of print (except for \nMP3 copies of the 2002 EMI reissue, I mistakenly thought - being unaware\n of another, 2009 EMI reissue on CD!), I was delighted to find that a \nset of near-mint HMV LPs delivered superb sound quality for remastering \npurposes. The discs themselves played slightly sharper than electrical \nreadings suggest was the true pitch sung - and has thus been corrected \nfrom 448Hz to 442.6Hz.\u003c\/p\u003e\u003cp class=\"body\"\u003eOther than that I've sought to bring greater clarity and\n accuracy to the sound through 32-bit XR remastering, which has revealed\n truly superb sound quality from start to finish of this timeless \nrecording.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDon Giovanni \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRecorded 7-15 October 1959 \u003cbr\u003e Abbey Road Studios, London\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003eTransfers from HMV Box SLS 5083 \u003cbr\u003e Cat Nos. ASD 3349-51 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eTHE CAST\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eEberhard Wächter\u003c\/b\u003e (\u003cem\u003ebaritone\u003c\/em\u003e) - Don Giovanni \u003cbr\u003e \u003cb\u003eJoan Sutherland\u003c\/b\u003e (\u003cem\u003esoprano\u003c\/em\u003e) - Donna Anna \u003cbr\u003e \u003cb\u003eLuigi Alva\u003c\/b\u003e (\u003cem\u003etenor\u003c\/em\u003e) - Don Ottavio \u003cbr\u003e \u003cb\u003eGottlob Frick\u003c\/b\u003e (\u003cem\u003ebass\u003c\/em\u003e) - Commendatore \u003cbr\u003e \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e (\u003cem\u003esoprano\u003c\/em\u003e) - Donna Elvira \u003cbr\u003e \u003cb\u003eGiuseppe Taddei\u003c\/b\u003e (\u003cem\u003ebaritone\u003c\/em\u003e) - Leporello \u003cbr\u003e \u003cb\u003ePiero Cappuccilli \u003c\/b\u003e(\u003cem\u003ebaritone\u003c\/em\u003e) - Masetto \u003cbr\u003e \u003cb\u003eGraziella Sciutti\u003c\/b\u003e (\u003cem\u003esoprano\u003c\/em\u003e) - Zerlina\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cbr\u003e Philharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003e Chorus Master \u003cb\u003eRoberto Benaglio \u003c\/b\u003e\u003cbr\u003e Harpsichord \u003cb\u003eProfessor Heinrich Schmidt\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003cbr\u003e Carlo Maria Giulini\u003c\/b\u003e conductor \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003e Cover art: \"Don Juan and the statue of the Commander\" (detail) - Alexandre-Évariste Fragonard, oil on canvas, circa 1830-1835\u003cbr\u003eTotal duration: 2hr 42min\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO078.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO078.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eEMI CD REISSUE, 2002\n\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt seems incredible now that Carlo Maria Giulini was the \u003cem\u003ethird choice\u003c\/em\u003e\n of conductor for this famed recording. First choice was Beecham, and \nwhen that fell through, Walter Legge, the producer, engaged Klemperer, \nwho, though weakened by illnesses and accidents, began working on the \nrecording, only to withdraw after three days because of pericarditis. \nLegge sent an SOS to the then relatively unknown Giulini, who responded \npositively, though, as the booklet tells us, with some trepidation. The \nrest is indeed history, as the whole ensemble proceeded to work like a \ndream, and produce what in this case is without question one of the \nsupreme recordings of the twentieth century, and will surely never be \nsurpassed on disc.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCredit must go to Legge for two things \nin particular; firstly for assembling the peerless cast, and secondly \nfor overseeing the technical aspects so faultlessly. The beauty of the \nsingers is that, as befits the nature of the opera, they were either \nyoung (Alva, Wächter, Sutherland and Cappuccilli in their thirties, \nSciutti in her twenties) or in their absolute vocal and dramatic prime \n(Schwarzkopf, Taddei and Frick). Giulini himself was just 45, and the \nwhole project has a dynamism and wicked sense of humour that could only \nbe obtained with a team possessing this blend of talent, comparative \nyouth and experience.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eTo anyone who knows her only in 19th \ncentury Italian repertoire, Sutherland is a revelation here. She sings \nDonna Anna's arias with rare delicacy and elegance, plus the expected \ntechnical brilliance, while Schwarzkopf is simply perfection as Donna \nElvira, transforming her from what can sometimes be a mournful nag into a\n woman of great dignity and strength of character. The young Sciutti was\n an inspired choice as Zerlina, giving her a delightfully disingenuous \nquality that is as endearing as it is entertaining.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe men are equally good; Wächter was an\n exceptional Don, and in his vocal colouring contrives to reflect \nbrilliantly all the different ways the character presents himself to \nthose he wishes to manipulate, be they male or female. Alva makes an \nappropriately sweet-toned and rather deadpan Don Ottavio (though he is a\n touch rhythmically slack in places), and Cappuccilli makes an hilarious\n Masetto, aflame with righteous indignation and sexual jealousy. Frick \nis in his best cavernous voice as the Commendatore, reminding us of the \ngreat recorded Hagen he was to become soon after this.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eA cast ‘to die for’, then, no doubt \nabout that. Yet there are plenty of opera sets that fail to ignite \ndespite the starriest of line-ups. It’s the \u003cem\u003epacing \u003c\/em\u003eof the whole\n thing that is so superb, and here the continuo player, Heinrich \nSchmidt, makes a huge contribution. He gets the passages of \u003cem\u003erecitativo secco\u003c\/em\u003e\n bowling along at a terrific rate, emphasising the knockabout humour. In\n particular, the exchanges between Don Giovanni and Leporello are \noutstanding, the master’s twitting of the servant having, for modern \nears, unmistakable echoes of Blackadder and Baldrick.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe orchestral playing is what finally \nlifts the performance to the sublime level it achieves. Giulini draws \nthe most sensitive, stylish and dramatically aware playing from the \nPhilharmonia, especially from the strings, who produce a warmth and \nbeauty of tone that is very special. This serves to underline how this \nopera came to mean so very much – arguably more than any other 18th \ncentury stage work – to the Romantics of the 19th century.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe recording captures all of this \nfaithfully, with a balance that manages to make the singers sound just a\n little larger than life without losing the correct perspective. One of \nthe greatest musical and dramatic experiences available on disc, then, \nand one that I personally will always treasure.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eGwyn Parry-Jones, MusicWeb International\u003c\/b\u003e December 2002\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":"Stereo 24-bit FLAC","offer_id":32606647053,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32606647245,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32606647373,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO078_59dc3393-b69e-425b-a746-59e5768278ef.jpg?v=1487869053"},{"product_id":"paco124","title":"HORENSTEIN Mozart: Coronation Mass and Vesperae Solemnes de Confessore (1956) - PACO124","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Vesperae solennes de confessore, K. 339\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Mass in C, \"Coronation\", K.317\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5, 6, \u0026amp; 9 October, 1956, Konzerthaus, Vienna\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:38\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilma Lipp \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e soprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChrista Ludwig\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  alto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMurray Dickie\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  tenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWalter Berry\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  bass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSingverein der Gesellschaft der Musikfreunde, Vienna\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fExtraordinarily satisfying listening578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMany of us may remember these as rather\n thin-sounding monaural Vox releases. In fact the recordings were \nactually made in stereo in the Konzerthaus in Vienna in 1956, and Andrew\n Rose’s Pristine label has done his usual superb restoration work and \ngiven them a completely new life. This hardly sounds like the same \nperformances as heard on my Vox LPs. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein’s Mozart is certainly not of\n the HIP variety favored by many today, but neither is it the \nsoft-grained romantic view of some of his contemporaries. This is lean, \ntautly phrased Mozart with an extremely strong rhythmic pulse underlying\n everything. The result is music-making that is propulsive and deeply \ninvolving. While the performances lack the lightness of texture that \nearly music specialists give it, at no point do Horenstein’s richer \nsonorities turn leaden, nor do they impede the music’s momentum. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein as a conductor always paid \nparticularly keen attention to balance and texture, and he does so here \nboth in the choral and the orchestral forces. The great Vienna \nSingverein Chorus sings here with a wonderful combination of tonal \nrichness and clarity. The diction of its members is pointed and clear, \ntheir intonation is impeccable, and the quality of the sound they \nproduce is consistently beautiful and never forced. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein’s soloists represent a who’s\n who of Mozart singing in the middle of the 20th century. Wilma Lipp’s \nsoprano solos are glowing, and all four voices blend perfectly with each\n other. The Vienna Symphony may not have quite the tonal palette \navailable to the Vienna Philharmonic, with a string sound just a tad \nless warm than the VPO’s, but it still plays very well and with a \npalpable sense of involvement not always present in either Viennese \norchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThere are many wonderful recordings of\n both pieces, particularly the Mass. There are performance styles to \nplease a wide range of tastes, from conductors as varied as Pinnock, \nHarnoncourt, Barenboim, Perahia, Karajan, and Koopman. Many of them \ncouple these two works together, and some add additional music. As \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereaders\n know, when it comes to great music with many recorded performances, I \ntend to avoid the game of trying to rank them. Music is too complicated,\n and too personal, to say something such as, “Horenstein is in third \nplace, between Koopman and Perahia.” There are a number of valid ways to\n perform this music, and to hear it. That is what makes it great. What I\n can say is that the tensile strength and momentum given to the music by\n Horenstein, coupled with his strong instinct for choral and orchestral \nbalances and his ability to make music with an innately natural beauty \nand flow, work together to make this extraordinarily satisfying \nlistening. And if you did enjoy it in its Vox incarnation, you \nabsolutely must hear it in Pristine’s incredible remastering, heard here\n in natural stereo sound. A recording I always thought of as thin and \ncongested has been opened up to an astonishing degree. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO124.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Horenstein conducts choral music by Mozart\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eEarly Vox stereo recordings in Pristine XR makeovers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eAlthough in many ways a well-made recording for 1956, \nHorenstein's Mozart choral works suffered from rather inept handling of \nstereo, a recording technology that was still in its commercial infancy \nand experimental stage. This resulted in a recording that failed to \ncohere between two unusually separate left and right tracks, something \nwhich may have contributed to their lukewarm reception when first \nissued.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThis XR remastering has not only addressed the usual issues of \ntonal balance, but has also sought to rectify the sonic image of the \nrecording, bringing the two channels together in such a way as to \neliminate the large \"hole in the middle\", whilst retaining an impressive\n stereo spread across the sound stage. The sonic picture has been \nfurther enhanced by a \"relocation\" of the rather dry original in the \nacoustic space of York Minster, a large Gothic cathedral in the north of\n England with a particularly fine acoustic, after much experimentation \nand consultation with Misha Horenstein, as well as consideration of the \nintended performance spaces of these ecclesiastical works by Mozart.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe results are a revelation. Occasionally my remastering work \nhas led to comprehensive re-evaluations of performances and recordings, \nand I suspect this will be one such case. With all of the musicians and \nsingers working together within a credible sonic space and across a \nbelievable and beautiful sound stage, the whole performance seems to \ncome alive, demonstrating just how marvellous it was all along, but for \nthe rather ham-fisted efforts of those Vox engineers back in 1956, \nstruggling to make stereo work for the first time.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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 style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e  Vesperae solennes de confessore, K. 339\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eMOZART\u003c\/b\u003e  Mass in C, \"Coronation\", K.317\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\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\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5, 6, \u0026amp; 9 October, 1956, Konzerthaus, Vienna\u003c\/span\u003e\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein\u003cbr\u003eSpecial thanks to Misha Horenstein for the archive recordings, photographs and notes used in preparing this release\u003cbr\u003eTotal duration: 57:38\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\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eJascha Horenstein  \u003c\/b\u003econductor\u003cbr\u003e\u003cb\u003eWilma Lipp \u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e  alto\u003cbr\u003e\u003cb\u003eMurray Dickie\u003c\/b\u003e  tenor\u003cbr\u003e\u003cb\u003eWalter Berry\u003c\/b\u003e  bass\u003cbr\u003e\u003cb\u003eSingverein der Gesellschaft der Musikfreunde, Vienna\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Symphony Orchestra\u003c\/b\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\/PACO124.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO124.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\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eby \u003c\/span\u003e\u003cb style=\"font-family: georgia, palatino; font-size: small;\"\u003eMisha Horenstein\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eJascha Horenstein \ndeveloped his lifelong enthusiasm for vocal and choral music during his \nstudent days at Berlin's Hochschule für Musik, where for three years he \nserved as an assistant to Siegfried Ochs, head of the school's choral \ndepartment and founder and long-time director of the Berlin Philharmonic\n Choir.  It was during choir rehearsals for Ochs at the Hochschule for a\n performance of Bach's \u003cem\u003eB Minor Mass\u003c\/em\u003e in November 1921 that \nHorenstein was first noticed by Furtwängler, who encouraged him to \npursue a conducting career, while Ochs himself described his assistant \nas “ one of the few conductors who really understood something about \nvocal music”.  According to Berthold Goldschmidt, a fellow student at \nthe Hochschule, “it was from Ochs, the  collaborator of Nikisch and \nMahler, that Horenstein learned the important technique of approaching \nthe large scale developing traits of a composition from a psychological \nperspective.”[1]\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eHorenstein's first \nregular conducting experience also started during his student years \nwhen, in May 1922, he succeeded Hermann Scherchen as conductor of two \nlarge choruses in Berlin, the \u003cem\u003eSchubertchor\u003c\/em\u003e and the \u003cem\u003eGemischtechor Gross-Berlin\u003c\/em\u003e, positions he held for six years. Goldschmidt recalled the occasion in his memoirs:\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Quotations\" style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e[Horenstein]\n soon left our master class for composition and Schreker’s seminar, in \norder to occupy himself with the more practical side of music making. He\n founded a choir of factory workers, with which he gave astonishingly \ngood and lively concerts. These concerts were mostly without \ninstrumental accompaniment, and included difficult works by Bartók and \nSchoenberg. The a capella choir and its radical conductor soon obtained a\n remarkable reputation.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eHorenstein was a \ndifficult taskmaster. Membership in the choirs involved participation in\n a comprehensive concert and educational program that included weekly \nlessons in solfeggio, sight-reading and voice training, as well as \ncourses on the history and sociology of music. At some point into his \nstewardship he instituted the regular keeping of attendance lists, \nexcluding people from the choirs for absenteeism or undisciplined \nbehavior, conduct that always tried his patience, which caused a certain\n amount of friction and member turnover. Horenstein’s programs were also\n a subject of contention. One choir member complained that the choral \nworks of Bartók and the Finnish composer Selim Palmgren, which were \nperformed regularly, were too difficult and wrote that “many singers \nwere of the opinion that the conductor made almost unachievable \ndemands.” In some instances these included Horenstein's insistence that \nthe choirs learn and perform difficult pieces by heart. Despite or \nbecause of this, during the Weimar years his choral concerts attracted \nmuch favorable attention from Berlin's most important critics, which led\n to engagements with orchestras and eventually to his appointment at the\n Düsseldorf Opera in September 1928, the start of a five year period of \nintense activity with singers and choruses.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eAfter leaving Germany \nin 1933 Horenstein had much less contact with choral music but always \nrelished the chance to include it in concerts when opportunities came \nhis way. In 1953 he wrote to Karol Rathaus that he “enjoyed immensely” \nworking with the chorus for a performance of \u003cem\u003eBoris Godunov\u003c\/em\u003e in \nItaly and that “there is simply nothing so wonderful in interpretation \nlike working with voices”. He later described the human voice as “the \nmost musically expressive instrument there is”, and whenever he included\n choral music in his concerts he invariably insisted on taking separate \nchoir rehearsals himself, sometimes against the wishes of the chorus \nmasters concerned. Indeed, some of his most successful performances, \nfrom Beethoven's \u003cem\u003eMissa Solemnis\u003c\/em\u003e to the Brahms Requiem to \nMahler's Eighth Symphony, involved extensive work with choirs and \nsoloists and the same can be said for the two Mozart items presented \nhere, possibly Horenstein's first stereo recordings, in which the \ncelebrated Viennese chorus and soloists give him their most refined, \nstylish and rhythmically vital singing, with phrasing of unusual \nattention and delicacy.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cbr clear=\"all\"\u003e\n\u003chr width=\"33%\" size=\"1\" align=\"left\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e[1]\u003cem\u003e    Berthold Goldschmidt - Komponist und Dirigent : ein Musiker-Leben zwischen Hamburg, Berlin und London\u003c\/em\u003e, Von Bockel Verlag, Hamburg (2003)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\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":"Stereo 24-bit FLAC","offer_id":31975664717,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975664781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975664845,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO124_45e6e54b-cba4-485a-a4b0-e2a664313b07.jpg?v=1487682241"},{"product_id":"pacm077","title":"ITALIAN QUARTET Haydn \u0026 Mozart String Quartets (1948\/52) - PACM077","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb data_liveedit_tagid=\"000000000D771120\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet in G major, Op. 77, No. 1, Hob III:81\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb data_liveedit_tagid=\"000000000D771120\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet No. 2 in D major, K155 (K134a\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet in E flat major, Op. 64, No. 6, Hob III:64\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e)\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1952 \u0026amp; 1948\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 50:55\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eQuartetto Italiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHaydn Quartet Op 64 No 4578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\"I played this set immediately after the Schubert\n (reviewed elsewhere) and, putting them side by side, one cannot help \nreflecting, what an astonishing expansion took place in music in so \nshort a time: an enormous expansion of range of mood—and of sheer size \n(Schubert's 10 sides to Haydn's 4). But im-mediately comes a second \nthought. Expansion, yes: Progress, no. This Haydn is perfection of its \nkind. String quartet lovers are in luck this month for here is another \nmore than ordinarily good performance. It is lovely Haydn playing, above\n all in the last two movements, and throughout it has moment after \nmoment when the charm of style cannot fail to enchant.\u003cp class=\"bodybigblue\"\u003eThere is just one phrase which I think over-steps\n the bounds of ciassical style—if you have a score you can find it in \nthe slow movement, just before the minor section and again just before \nthe end. (Bars with a sf.) But this is nothing to set against such \nexcellent interpretation.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eAs to balance and recording, also good, though I \ndo not find the cello line entirely satisfactory. I am not sure if the \nplayer has perhaps a rather tubby tone or whether the recorders might \nhave given us a little more of him—possibly both. At any rate, in the \nmiddle, minor, section of the slow movement I needed my score to know \nthat there is a bass line of B flats for the first few bars: and \nelsewhere I found his line not consistently telling.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eYet this is a very good set of records and another work which you should at least hear and judge for yourself.\"\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eT. H., The Gramophone, December 1949\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM077.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eExcellent Mozart and Haydn from one of the great quartets\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eQuartetto Italiano's sound superbly enhanced in these new 32-bit XR transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe recordings presented here span the end of the 78rpm \nera and the start of the LP era - the 1952 recordings were given \nstandard 78rpm matrix numbers (IAR551-2 and IAR563-68) though is it \nuncertain whether they were ever issued on 78s, and would have been \nrecorded onto tape.\u003cbr\u003e\u003cbr\u003eThe earlier recording, 1948's Haydn E flat Quartet, most\n certainly was issued on 78s (AK2159-60) and must have been among \nDecca's last recordings made direct to disc - this was clearly apparent \nwhen restoring the recording from their own LP transfer, in this case a \nmint ten-inch 33rpm German pressing, where remnants of surface noise and\n swish clearly indicated original 78rpm rotation.\u003cbr\u003e\u003cbr\u003eAlso appreciable is the decrease in general surface \nnoise with the advent of tape, coupled with increased general recording \nfidelity between 1948 and 1952. That said, each of these recordings has \nbenefited greatly from 32-bit XR remastering, in which I've been able to\n bring out a great deal of clarity and fine detail, whilst retaining an \nopen, organic sound.\u003cbr\u003e\u003cbr\u003eI was also able to enhance the originally rather dry \nsound of the Santa Cecilia recordings, using precisely mapped acoustic \nmodels of the hall in which the recordings were made, to \"place the \nlistener\" in the centre of the seventh row of the auditorium - thus \nallowing the sound of the hall itself to round out the tone of the \nquartet in a pleasing and entirely authentic manner.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHADYN \u003c\/b\u003eString Quartet in G major, Op. 77, No. 1, Hob III:81\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eString Quartet No. 2 in D major, K155 (K134a)\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecording producers: Victor Olof \u0026amp; John Culshaw\u003cbr\u003eRecording Engineer: Gil Went\u003cbr\u003eRecorded 1-10 July, 1952\u003cbr\u003eSanta Cecilia, Rome\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHADYN \u003c\/b\u003eString Quartet in E flat major, Op. 64, No. 6, Hob III:64\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 11 \u0026amp; 20 November, 1948\u003cbr\u003eWest Hampstead Studios, London\u003cbr\u003e\u003cbr\u003eTransfers from Decca LXT2811 \u0026amp; LW50170\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003e Cover artwork based on a photograph of Quartetto Italiano\u003cbr\u003eTotal duration: 50:55\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003eQuartetto Italiano:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePaolo Borciani, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eElisa Pegreffi\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003ePiero Farulli\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eFranco Rossi\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\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\/PACM077.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM077.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":31975684877,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975684941,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975685005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975685069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM077_4f217fcf-1a90-4a27-9cbb-cc869106b533.jpg?v=1487682265"},{"product_id":"pasc467","title":"KLEMPERER in Philadelphia, Vol. 2: Mozart, Beethoven, Schumann (1962) - PASC467","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 41 'Jupiter'\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 7\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 6 'Pastoral'\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 4  \u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo recordings, 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 34:51\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEssential for admirers of this extraordinary musician and should appeal to anyone with an interest in the art of orchestral interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cb\u003eReview of Volumes 1 \u0026amp; 2:\u003c\/b\u003e\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\nIn late 1934, Leopold Stokowski announced his resignation as the \nlong-time principal conductor of the Philadelphia Orchestra. Otto \nKlemperer, a refugee from Nazi Germany, was engaged to conduct a season \nof concerts with the orchestra in January and February of the following \nyear. The Bruckner and Mahler performances which he included in his \nPhiladelphia concerts were moderately successful, but received greater \naudience and critical acclaim when he and the orchestra performed them \nin New York. Based on this success, Klemperer hoped he would be \nappointed Stokowski's successor. However, the latter conductor \nreconciled with the orchestra's board and the vacancy lapsed. When \nStokowski resigned a second time in late 1935, the board appointed \nEugene Ormandy to the position and Klemperer's hopes were permanently \ndashed.\u003cbr\u003e \u003cbr\u003e In late autumn 1962, the conductor was reunited with \nthe orchestra when he gave a series of concerts with them in \nPhiladelphia, New York, Washington and Baltimore. The Philadelphia \nconcerts were recorded in stereo and have now been restored by Pristine \nClassics and reissued in these two double-albums. The audiences were, at\n the very least, respectful and sometimes responded with an ovation. The\n critics, however, were reserved, complaining of slow tempos and a \ntendency to scrutinise every phrase. Winthrop Sargeant in the \u003cem\u003eNew Yorker\u003c\/em\u003e\n put the critics' concerns into perspective. Audiences, he believed, \nwere unaccustomed to Klemperer's style because of Toscanini's long \ndominance of the American orchestral scene. Klemperer's performances had\n 'unmistakeable grandeur' and were 'remarkable for their clarity of \ndetail'.\u003cbr\u003e \u003cbr\u003e (Sourced and adapted from Peter Heyworth’s \u003cem\u003eOtto Klemperer – His Life and Times\u003c\/em\u003e, CUP, 1996.)\u003cbr\u003e \u003cbr\u003e\n Although more than half a century old, these performances are not \nperiod pieces. Klemperer was a modernist who championed the music of the\n twentieth century. Unlike many of his near-contemporaries, he did not \nuse expressive devices like fluctuating tempos and significant \ninstrumental ‘re-touchings’. He preferred steady tempos. The orchestral \nsound was big but detailed. Mannerisms were few. Liberties were very \noccasionally taken, mainly in the form of cuts. Surface beauty and \nsuperficial excitement alike were shunned. He was an intellectual - his \ncommand of structure was unsurpassed - but he was not interested in \n‘scholarship’. His performances had honesty, integrity and power.\u003cbr\u003e \u003cbr\u003e\n Pristine's sound is warm, rich and deep and, in general, well balanced.\n Pristine states that it used the acoustic of a fine venue to add warmth\n to the somewhat dry sound on the tapes. The result reproduces the \nfamous sheen of the orchestra very well, although I would not call it a \ntypical Klemperer sound. That was drier, grittier and more detailed — \nsee my comments below on the recording of Beethoven's Seventh Symphony. \nStill, these magisterial performances can be enjoyed in this sumptuous \nsound.\u003cbr\u003e \u003cbr\u003e There is little in these sets which will startle those \nwho know their Klemperer. The performances are basically iterations of \nthe conductor's well known way with this music — all of which he had \nrecorded for EMI a few years earlier.\u003cbr\u003e \u003cbr\u003e In the case of the \u003cb\u003eBrandenburg Concerto No. 1\u003c\/b\u003e\n I was initially nonplussed by the disparities in the movement timings \nbetween this performance and the conductor's EMI studio version of two \nyears earlier. EMI's track 2 (containing the second movement \u003cem\u003eAdagio\u003c\/em\u003e) runs for 4:35 whereas Pristine's track 2 (also supposedly the \u003cem\u003eAdagio\u003c\/em\u003e) lasts\n 15:21. Yet the timings of the two performances of the whole \nconcerto are within a minute or so of each other. What has happened is \nthis: Pristine's track 2 contains not only the \u003cem\u003eAdagio\u003c\/em\u003e, but the third movement \u003cem\u003eAllegro\u003c\/em\u003e and \u003cem\u003epart\u003c\/em\u003e of the fourth movement \u003cem\u003eMenuetto\u003c\/em\u003e. The next bit of the \u003cem\u003eMenuetto\u003c\/em\u003e is found in track 3, and wrongly labelled \u003cem\u003eAllegro\u003c\/em\u003e, leaving only the last three minutes of the \u003cem\u003eMenuetto\u003c\/em\u003e to sit where it belongs - in track 4. Presumably, Pristine will correct these matters when the chance arises.\u003cbr\u003e \u003cbr\u003e Bach's scoring for this work includes a \u003cem\u003eviolino piccolo \u003c\/em\u003e(a\n small violin) and a harpsichord. I doubt whether Klemperer used the \nformer in either of these recordings. He certainly used a harpsichordist\n (George Malcolm) in London, but I'm not at all certain he had one in \nPhiladelphia. The balance in Philadelphia strongly favours the horns and\n the largish string section; the woodwinds tend to struggle. So perhaps \nthe harpsichord \u003cem\u003ewas\u003c\/em\u003e there. The horns, incidentally, are \nwonderfully vital and poised. The EMI recording seems to use a smaller \nstring section and has a clearer, studio-based sound, so it feels a \nlittle more 'authentic'. The Philadelphia performance is warm with tempi\n expansive but steady and never metronomic. This is the one truly \ncontroversial performance in the two sets. 'Authenticists' will reject \nit but, even today, there are those who can revel in this more \n'romantic' Bach than the one we have become used to.\u003cbr\u003e \u003cbr\u003e \u003cb\u003eBrahms\u003c\/b\u003e,\n it has been said, is ‘the patron saint of those who have grown old \nwithout achieving heart's desire’ and that is plain in this \u003cb\u003eSymphony No. 3\u003c\/b\u003e.\n One or two of Klemperer's eminent colleagues couldn't come to terms \nwith this symphony, but he did, and so did Bruno Walter, perhaps because\n of their life experiences. I compared this performance with readings by\n Klemperer on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Mar04\/Brahms_Klemperer.htm\"\u003eEMI stereo\u003c\/a\u003e\n and Walter on Sony stereo. All three capture the ‘Autumnal’ yet \nchanging moods of the symphony. Walter omits the first movement repeat \nwithout doing too much damage to the structure — he was averse to \nrepeats — and Klemperer includes it in both performances. Walter’s more \nmoulded approach uses basic tempos in the first three movements which \nare similar to Klemperer’s steadier ones on EMI, except in the Finale \nwhere Walter is brisker. Klemperer is a shade more expansive in \nPhiladelphia than London … by about a minute and a half. Walter’s is one\n of the finest of his stereo recordings in terms of both performance and\n sound. Both the Klemperer recordings are likewise authoritative.\u003cbr\u003e \u003cbr\u003e No conductor ever surpassed Klemperer's performances of the \u003cb\u003e\u003cem\u003eEgmont Overture\u003c\/em\u003e\u003c\/b\u003e. His approach was to use a steady tempo and build slowly to a great climax at the end. Walter, who recorded \u003cem\u003eLeonore No. 3\u003c\/em\u003e masterfully in Vienna, sadly misjudged \u003cem\u003eEgmont\u003c\/em\u003e\n in his Sony recording, slowing down mid-way, then having to speed up \nunconvincingly later on. A special mention for Klemperer's piccolo \nplayer in Philadelphia who rightly dominates the orchestra at the end.\u003cbr\u003e \u003cbr\u003e Some years ago on television, a conductor was seen rehearsing the \u003cb\u003eBeethoven\u003c\/b\u003e \u003cb\u003e\u003cem\u003eEroica\u003c\/em\u003e\u003c\/b\u003e\n with his period instrument orchestra. He advised the players that the \nfirst movement was \"like galloping horses\". Those viewers who recalled \nthat the French revolution inspired this symphony might have found that \nhis description - and performance – did not evoke the heroic spirit of \nthat event. They might prefer an alternative description - \"massive \nforces in motion\" – which is what Klemperer’s performances gave us. I’ve\n heard four of them: the Philharmonia Orchestra EMI studio productions \nof 1955 (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2009\/Feb09\/Beethoven3_8111303.htm\"\u003emono\u003c\/a\u003e)\n and 1959 (stereo), the Royal Danish Orchestra live recording of 1957 on\n Testament (mono) and this one with the Philadelphia Orchestra.\u003cbr\u003e \u003cbr\u003e\n The Danish performance is the first choice of some listeners. It has \ngreat intensity, emphasised by the close and dryish recording, but lacks\n Klemperer’s characteristic spaciousness. The \u003cem\u003eFuneral March\u003c\/em\u003e is \nquicker than in four other famous performances I compared it with and to\n an extent misses its full stature. I’d guess the whole performance was a\n product of a manic phase of the conductor’s well-known bi-polar \ncondition. The nearest to it in timing is the admired 1955 performance \nwhich has better sound and is better played. The superb horns are led by\n Dennis Brain in the third movement trio and the coda of the last \nmovement. Its \u003cem\u003eFuneral March\u003c\/em\u003e is finer, but does not have the \nstature of the 1959 remake or this Philadelphia performance. Both of \nthese offer a notably deeper and grander \u003cem\u003eFuneral March\u003c\/em\u003e.\u003cbr\u003e \u003cbr\u003e\n The Philadelphia performance resembles the 1959 recording and has \nalmost identical timings in all movements. The first movement is on the \nlargest scale and the important thing is that it \u003cem\u003ecoheres,\u003c\/em\u003e the \nfinal note envisaged, as it were, from the first. Everything leads to a \ngreat climax at the end of the movement where the trumpets, while \npresent, do not dominate to the exclusion of other instruments. The slow\n movement \u003cem\u003eFuneral March\u003c\/em\u003e is immensely moving, although every \nperformance of this piece has to yield to Toscanini's live 1939 version \nwith the NBC Symphony Orchestra — which has almost the same timing – \n16:25. This has unsurpassed tragic grandeur, accompanied by remarkable \ninternal clarity which could only have been achieved by absolute \nprecision; helped by the typically dry acoustic. The Philadelphia third \nmovement is a touch stately, but of a piece with the overall conception.\n In the Finale, Klemperer scores — as Walter does on Sony — by getting \nthe movement off to an arresting start without using Toscanini's \nwhiplash attack. As this movement progresses, do I detect a little more \nrelaxation in the quieter passages than Klemperer permits in his studio \nrecordings? A gesture, perhaps, to a great romantic orchestra? A touch \nof flexibility from the podium helps the horns articulate their \nimportant part in an exciting coda whereas Toscanini’s horns sound a \nlittle rushed.\u003cbr\u003e \u003cbr\u003e I compared this \u003cb\u003eMozart Symphony No. 41,\u003c\/b\u003e \u003cb\u003e\u003cem\u003eJupiter\u003c\/em\u003e\u003c\/b\u003e recording with Klemperer's two studio recordings (EMI, \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Feb\/Mozart_Symphonies_1PD98.htm\"\u003e1954\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2009\/Feb09\/Mozart_Symphonies_Klemperer_3458102.htm\"\u003e1962\u003c\/a\u003e), Böhm (DG \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/\/2000\/Oct00\/mozartpanorama.htm\"\u003e1962\u003c\/a\u003e) and Walter (US Columbia 1945, available in \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Mar\/Walter_rarities_PASC452.htm\"\u003ePristine's 'Bruno Walter Rarities'\u003c\/a\u003e 2015).\u003cbr\u003e \u003cbr\u003e\n Klemperer's Philadelphia performance gives the work the stature of a \nromantic symphony, an approach which I think it can withstand. At first \nglance, its physical proportions seem daunting: it runs for 36:39 \nwhereas all the other performances mentioned — including the \nconductor's studio recordings — run for less than half an hour. The \ndifference is mostly explained by the fact that the Philadelphia \nperformance is the only one that includes the repeats in \u003cem\u003eboth\u003c\/em\u003e \nthe outer movements. This adds about six minutes overall. The \nconductor's dramatic 1954 studio performance finds room for a repeat in \nthe last movement, but not in the first. His 1962 studio version, and \nBöhm's and Walter's, omit the repeats in both movements.\u003cbr\u003e \u003cbr\u003e It is \nin the first two movements that the Philadelphia reading differs \nsignificantly from most of the others. In Philadelphia, these \nmovements are broadly paced but lack nothing in intensity. Böhm is \nclosest to the classical ideal, dispatching both these movements swiftly\n in his straightforward, unmannered style. Walter is not far behind him,\n although his performance is more moulded, as you would expect. \nKlemperer in 1954 is close to Walter in overall timing, but steady in \npulse and more intense, giving a heroic feel to his performance. \nKlemperer in his 1962 studio performance slows down by about a minute \nin both the movements, giving a feeling of - as the 'Gramophone' put it \nat the time - 'classical grace'.\u003cbr\u003e \u003cbr\u003e If the Philadelphia audience \nin 1962 thought that Klemperer would drag his feet in the last two \nmovements, they were about to be surprised. His third movement is well \nup to speed and actually faster than Böhm's. His speed for the Finale is\n broadly comparable with the other performances, allowing for his \ninclusion of the repeat, and, with the advantage of his unsurpassed \nintensity, the effect is something of a whirlwind. A satisfying \nconclusion.\u003cbr\u003e \u003cu\u003e \u003c\/u\u003e\u003cbr\u003e Klemperer made \u003cem\u003efour\u003c\/em\u003e EMI studio recordings of \u003cb\u003eBeethoven's Seventh Symphony\u003c\/b\u003e, if you count his \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Nov02\/Beethoven57_Klemperer.htm\"\u003e1955 mono\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Sept13\/Beethoven_sys789_PASC371.htm\"\u003estereo\u003c\/a\u003e\n recordings as separate productions - which they were. I've chosen the \nthird of these - his 1960 stereo recording - as a basis for comparison. \nFor my other comparison, I wanted a complete contrast with Klemperer’s \napproach - in good sound. To be slightly venturesome, I selected Carlos \nKleiber’s live recording with the Bavarian State Orchestra on Orfeo, \nreleased in 1982, rather than his more famous \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2014\/Jan14\/Beethoven_Kleiber_4791106.htm\"\u003eDG studio recording\u003c\/a\u003e from the 1970s.\u003cbr\u003e \u003cbr\u003e\n Kleiber's performance is conceived in the classical, Toscanini style, \nwith swift tempos and incisive rhythms but, with fewer repeats and even \nfaster speeds than his DG recording, it understates a significant aspect\n of the score: its rustic, lyrical qualities. Bruno Walter's stereo \nperformance on Sony captured this aspect to perfection in the first \nthree movements, but his Finale was less satisfying in several ways. \nKleiber gives unusual prominence to the cello theme heard early in the \u003cem\u003eAllegretto\u003c\/em\u003e, a device which is not entirely convincing. He omits all repeats, except in the \u003cem\u003eScherzo\u003c\/em\u003e, and his speeds in all movements are faster than Toscanini’s in his pre-war BBC Symphony Orchestra performance (EMI also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Apr13\/Toscanini_London_1935_WHRA6046.htm\"\u003eWest Hill Radio Archives\u003c\/a\u003e).\n In the Finale, Kleiber is half a minute faster than Toscanini. This is a\n significant acceleration in a seven-minute movement and frankly places \nphysical excitement before any other qualities. The Bavarian orchestra \nsounds the equal of any in Europe and the sound is outstanding.\u003cbr\u003e \u003cbr\u003e In his DG performance only, Kleiber included the repeats in both the outer movements, whereas Klemperer omitted them in \u003cem\u003eboth\u003c\/em\u003e\n his, perhaps in recognition of the expansiveness afforded by his much \nslower tempos. Predictably, he obtains a much weightier and darker tone \nthan Kleiber did.\u003cbr\u003e \u003cbr\u003e The timings of Klemperer’s two recordings can\n be directly compared — due to their identical treatment of repeats — \nand it is interesting to note that in Philadelphia he was a minute \u003cem\u003efaster\u003c\/em\u003e\n than in London. Neither performance is 'the apotheosis of the dance' \nbut the EMI performance has been called 'titanic' and that \ndescription applies even more to the one in Philadelphia. With this \nconductor, the excitement comes not from speed but from the intensity of\n the playing he obtains. Be prepared for a famous Klemperer \n'ear-tickler' in the first movement's \u003cem\u003eAllegro\u003c\/em\u003e: his exaggeration\n of the great double hammer-blows. Some may find this a mannerism; \nothers may guiltily look forward to it each time they hear him in this \nwork.\u003cbr\u003e \u003cbr\u003e There is a marked difference in the sound produced by \nKlemperer’s two orchestras. In London, he obtained his usual \nrather grainy Beethoven sound from the Philharmonia players. In \nPhiladelphia, the orchestra - as presented by Pristine - retained \nits trademark tonal sheen.\u003cbr\u003e \u003cbr\u003e To judge by the number of memorable recordings which have appeared over the last ninety years, \u003cb\u003eBeethoven's Symphony No. 6,\u003c\/b\u003e \u003cb\u003e\u003cem\u003ePastoral\u003c\/em\u003e\u003c\/b\u003e\n may be the favourite symphony of the great conductors; I can think of \nonly one significant conductor who recorded it unsatisfyingly. It was \nalso the symphony by which many of us first experienced Beethoven's \norchestral music and so has a special place in our hearts.\u003cbr\u003e \u003cbr\u003e My own favourite versions could hardly be more different: Toscanini's pre-war recording on HMV (reissued in 2013 on EMI; also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Apr04\/beethoven6_toscanini.htm\"\u003eNaxos\u003c\/a\u003e), Walter's \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Dec\/Beethoven_Walter_88875123912.htm\"\u003eSony\u003c\/a\u003e stereo and Klemperer's \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2003\/May03\/Beethoven6_klemperer.htm\"\u003eEMI stereo\u003c\/a\u003e.\n There is a well known story that when Klemperer was rehearsing the \nthird movement 'Peasants' Merrymaking', EMI producer Walter Legge phoned\n him from the control room to question his slow tempo. ‘You will get \nused to it’ was the laconic reply. In Philadelphia, the conductor added \nan extra half-minute to this movement, so these peasants are \nindeed heavy-footed - as some of us might expect peasants to be.\u003cbr\u003e \u003cbr\u003e The first two movements are also slow, although the timing of 14 minutes for the \u003cem\u003eAllegro\u003c\/em\u003e\n is partly accounted for by Klemperer's inclusion of the repeat, \nwhich adds at least three minutes to this movement. The other two \nconductors omit it. Klemperer's speeds allow him to exploit to the full \nthe orchestra's seemingly limitless tonal reserves, grounded in an \nimmensely powerful bass. Reject his tempos if you must, but you will \nnever hear this work more beautifully or more powerfully played. The \nstorm is utterly overwhelming and takes only a few seconds longer than \nToscanini's and Walter's. The last movement \n'Thanksgiving' is unexceptionally paced and flows steadily and gently to\n its end.\u003cbr\u003e \u003cbr\u003e Gentleness is a characteristic of Walter's \nentire recording - but it is gentleness with backbone. It's a warmly \nexpansive, Viennese romantic interpretation with the lighter tone \nquality and more flexible tempos that such an approach would imply. \nAfter Walter and Klemperer, Toscanini’s account sounds almost like an \n'historically informed' performance without the bugbear — as some would \nsee it — of period instruments. Tone quality is lighter and focused on \nthe treble end of the orchestra. Speeds are swifter. There is great \ninternal clarity, bringing prominent woodwind detail. The most important\n thing is that the BBC Symphony Orchestra and Toscanini prove to be \nideal foils to one another: the conductor imparts precision and rhythmic\n drive and the orchestra tempers these with its special warmth and \nflexibility. The result is a performance with a rare combination of \nvitality and lyricism.\u003cbr\u003e \u003cbr\u003e My choice between the two Klemperer \nversions rests with the EMI studio account because of its marginally \nmore conventional pacing; it's three minutes faster. Still, if you have \nany sympathy at all for the conductor's way with this symphony, \nyou'll want to hear the incomparable sonic glories of the Philadelphia \nperformance.\u003cbr\u003e \u003cbr\u003e Pristine’s liner-notes quote from a recent review in the \u003cem\u003ePhiladelphia Inquirer\u003c\/em\u003e in which David Patrick Stearns calls this performance of \u003cb\u003eSchumann's Symphony No. 4\u003c\/b\u003e\n the 'best' among those the conductor gave in Philadelphia in 1962. \nGiven the stature of the performance, I'd call it not merely the best, \nbut the greatest.\u003cbr\u003e \u003cbr\u003e Perhaps we should forget about the supposed \nweaknesses of this work — actually Schumann's second in order of \ncomposition — and listen to what some great German conductors make of \nit. I've compared this performance with the same conductor's 1960 EMI \nstudio recording and those by Furtwängler (DG 1953 also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2006\/Feb06\/Tchaikovsky_Furtwangler_FURT10991100.htm\"\u003eTahra\u003c\/a\u003e) and Walter (HMV\/Dutton 1938\/94 also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Jan11\/schumann_sys_GHCD2362.htm\"\u003eGuild\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Walter's performance, lasting just under 24 minutes, is far shorter \nthan the next contender, Klemperer's studio performance, which runs for \n28:25. Walter's timing reflects his omission of the first movement \nexposition repeat — all the other recordings retain it — but also his \nswift tempos. As recorded and restored, the performance has a \nsurprising lack of impact and majesty. This may be partly or wholly due \nto the sound, which is rather remote and cloudy. Regardless of the \nreason, Walter's recording is disappointing. Perhaps a modern \nrestoration would improve matters.\u003cbr\u003e \u003cbr\u003e Furtwängler's recording has \nlong been regarded as the gold standard for this work. It gives us the \nrare chance to hear the Berlin Philharmonic Orchestra of his time in \nhigh fidelity sound. It's the most expansive of the four performances, \nlasting about a minute and a half longer than either of Klemperer’s \nperformances, which run within a few seconds of each other. Furtwängler \npays his tribute to Schumann by his subtle variations in tempo, his \nmajestic treatment of the outer movements, his relative gentleness in \nthe inner movements and his not unexpected speeding up at the conclusion\n of the final movement.\u003cbr\u003e \u003cbr\u003e The two Klemperer performances are \nsimilar to each other in concept and, as mentioned above, in pacing. \nTempos are not slow, and in contrast with Furtwängler, steadily \nmaintained. Where the Philadelphia performance exceeds the studio \nversion is in, to quote Stearns again, its 'terrifying’ intensity. The \nlistener is confronted with a massive sound which is not static \nbut moving inexorably forward. The final movement builds up to a \nconclusion of overwhelming force, eliciting shouts of acclamation from \nthe audience. No thoughts of 'weak writing' here. This performance is a \nsupreme exposition of high German romanticism without the \ninterpretive distortions which sometimes accompany it. Alone worth the \nprice of the set.\u003cbr\u003e \u003cbr\u003e In conclusion, These two double albums will \nappeal strongly, not just to the conductor’s enthusiasts, but to all \nlovers of great conducting, effortless and sumptuous orchestral playing \nand ripe stereo sound. They will sustain repeated hearings. Audiences \nare well behaved throughout.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Jul\/Klemperer_Philadelphia_v12_PASC465.htm\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003eReview of Volumes 1 \u0026amp; 2:\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn October and November 1962, Otto \nKlemperer visited the United States for the first time in eight years, \nto conduct the Philadelphia Orchestra in a series of concerts in New \nYork, Washington, and Baltimore as well as Philadelphia. The 77-year-old\n conductor’s physical and mental health was precarious, and during this \nperiod he suffered from severe depression. Although Klemperer had long \npromoted the works of Bruckner and Mahler, which still enjoyed only \nlimited acceptance in the U.S., and had conducted much 20th-century \nmusic, he stuck close to what was then the mainstream in selecting works\n for this tour. The programs were heavily weighted toward Beethoven, \nincluding three of that composer’s symphonies (Nos. 3, 6, and 7) as well\n as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, along with one work each of J. S. Bach, Mozart, Schumann, and Brahms. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAccording to the account in Peter \nHeyworth’s biography of the conductor, critical response to these \nperformances was lukewarm, but audiences were more enthusiastic. \nKlemperer later criticized the orchestra in an interview, claiming that \nit was not as good as it had been when he conducted it decades earlier, \nnear the end of Stokowski’s tenure. I find it difficult to understand \nhis dissatisfaction, as the playing on these discs is for the most part \nexcellent, barring a few minor mishaps that are to be expected in a live\n performance, and the resulting performances are characteristic \nKlemperer. They display in abundance his typical concern for structure, \nphrasing, rhythmic precision, and balances; his ability to generate \ntremendous momentum at a comparatively deliberate pace; his probing for \ninner voices; and his striving to reveal each strand of the musical \nfabric distinctly, rather than in a homogenized blend. Not everyone, it \nmust be acknowledged, responds to the Klemperer style. Not too long ago,\n I was taken aback when an esteemed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n colleague informed me that he “hated” several of Klemperer’s widely \npraised studio recordings. In reviews of these concerts, critics often \nobjected to the slow tempos, and although it is a myth that Klemperer \nwas always a slow conductor, the tempos in these performances are often \nquite deliberate even by comparison with a good many other Klemperer \nrecordings of the same works. There is, however, nothing here that is \noutlandishly slow, as is the case with some of the performances he \nrecorded for EMI at the very end of his career, such as the Bruckner \nEighth and Mahler Seventh symphonies. A critic reviewing one of the \nPhiladelphia Orchestra concerts complained that every note “was \ninspected, mulled over….Every phrase was … viewed through an aural \ntelescope.” This comment is a pejorative description of a phenomenon I \nview as positive. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough there was a trend toward \nslower tempos in Klemperer’s performances as he aged, the progression \nwas not linear. For instance, the tempo in the first movement of this \nPhiladelphia performance of Mozart’s “Jupiter” Symphony is more \ndeliberate than in Klemperer’s 1968 live recording with the Vienna \nPhilharmonic (Testament) as well as his 1954 and 1962 EMI studio \nrecordings. As the movement begins, I am thinking, “This is too slow.” \nBut as the momentum builds, driven by forceful accents, incisive rhythm,\n and precise chording, I am soon captivated by the monumental grandeur \nof this conception. Grandeur is surely an essential element of the \n“Jupiter,” and it doesn’t get any grander than this. After a while, the \ntempo no longer seems slow at all. (Klemperer observes the exposition \nrepeat in both concert performances but not in the EMI recordings.) The \ntempo in the second movement differs little from that of the 1962 EMI \nrecording or the Vienna performance, although it is certainly deliberate\n by conventional standards. The playing evinces thoughtful, sensitive \nshaping by Klemperer and reminds us that his tempo control, although \ngenerally firm and unified, is by no means rigid. The pace in the \nMenuetto is similar to that in the later EMI recording, expansive and \ngrand but also kinetic, with more emphatic downbeats in the Philadelphia\n rendition. The finale is bracing, comparable in tempo to the 1954 EMI \nrecording. The vertical stresses are again stronger in the Philadelphia \nperformance, rendering the movement all the more majestic and heroic. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe movement timings in the \nPhiladelphia performance of Beethoven’s “Eroica” are similar to those of\n the 1959 EMI stereo recording. Those, along with a 1958 live \nperformance with the Stockholm Philharmonic (Medici Masters), are the \nmost expansive among the eight Klemperer performances I compared. The \n1960 live performance with the Philharmonia Orchestra in Vienna (Music \nand Arts) and the 1963 performance with the Vienna Symphony (Orfeo) are \nfaster, once again illustrating the non-linearity in the evolution of \nKlemperer’s tempo choices. The fastest of all, however, is a 1957 \nperformance with the Royal Danish Orchestra (Testament). Of the three \nmost expansive performances, I find the Philadelphia one the most \npersuasive. The Swedish orchestra plays well, but without the refinement\n or tonal weight and allure of the Philadelphians, who also surpass \nKlemperer’s own Philharmonia Orchestra, performing under studio \nconditions, in commitment and intensity. In the Philadelphia \nperformance, stresses are more forceful, climaxes more towering, and \ntension and momentum better sustained. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarcia funebre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is especially grim and cataclysmic. With its spaciousness, clarity, and\n bass definition, the Philadelphia recording is superior in capturing \nthe polyphony of the Klemperer sound. This is not an impetuous \nperformance, but it is a majestic and surely heroic one. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Pastoral” is from the same October\n 19 concert as the “Eroica,” the first concert of the Philadelphia \nseries. It is the slowest of the seven Klemperer recordings of this \nsymphony in my possession in all movements, and significantly so in the \nfirst three. The Philadelphia timing in the first movement (corrected to\n eliminate the pause between movements) is 14:06, as opposed to \n13:00–13:17 for the three Klemperer recordings chronologically closest \nto this one, the 1957 EMI recording, the 1960 Vienna Festival \nperformance with the Philharmonia Orchestra (Music and Arts), and the \n1964 live performance with the Berlin Philharmonic (Testament). (In all \nof his recorded performances of the “Pastoral,” Klemperer observes the \nexposition repeat.) As with the “Jupiter,” my initial reaction was that \nthe tempo is too slow, but with time I find more to appreciate in this \ngrand, monumental treatment, which builds a massive forward impetus \ndespite the deliberate pace. Other positive attributes include soaring \nclimaxes, insistent stresses, rich string sound, open texture, and \nsculpted detail. The second movement possesses many of those same \nvirtues, although with a timing a half-minute longer than in the EMI \nrecording, it is comparatively serene and quiescent, without the lyrical\n flow of that account or the more fervent expressivity of the 1960 \nVienna performance. The third movement relies on forceful accents and \ntonal weight rather than urgent forward movement for its energy, and its\n momentum once again builds gradually. But Klemperer then conjures quite\n a raging storm, proving once again that he could in fact conduct at a \nfast tempo when he so desired. With a timing only marginally longer than\n that of the EMI recording, the finale is urgent and fervent, once again\n with especially insistent stresses. The deliberate tempos in this \nperformance will no doubt try the patience of some listeners, and for \nthem the EMI recording or the Vienna Festival performance, with its more\n urgent pacing, joyful exuberance, and very good mono sound, would be \nb\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975729741,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975729805,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975729869,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC467_d85d984f-71b4-4f7a-a639-aee361240d88.jpg?v=1487682303"},{"product_id":"paco115","title":"KLEMPERER Mozart: Die Zauberflöte, Symphony No. 41 (1962\/1954) - PACO115","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Zauberflöte\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e No. 41 \"Jupiter\"*\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and Live recordings · 1962 \u0026amp; 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 15:21 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoan Sutherland\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Queen of the Night\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRichard Lewis\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Tamino\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeraint Evans\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Papageno\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoan Carlyle\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Pamina\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDavid Kelly\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Sarastro\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Hotter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Speaker\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoloists, Orchestra and Chorus of Covent Garden\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e*Philharmonia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis triumph is his overarching view of the work that enables it to cohere at a higher level. This is masterly conducting578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has done it again with a \ntreasurable release. Notable perhaps most obviously for Joan \nSutherland’s assumption of the role of Queen of the Night, and with Hans\n Hotter as Speaker, this is the first complete release of this \nperformance (there has been a previous compact disc release on Melodram,\n but the second act was not complete: Pristine has been successful in \ntracing a tape that allows the work to resound as a whole). The cream on\n the pudding is the announcer’s impeccable, clipped BBC Third Programme \n(sic) accent (just listen to the way he says “flute”). Given Klemperer’s\n speeds, the work bleeds over to three discs, so as a bonus Pristine \ngives us Klemperer’s 1954 mono “Jupiter.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKlemperer’s approach to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is indeed grand, and in this transfer the opening chords of the \nOverture convey all the solemn splendor of a Masonic Temple and its \nenvirons. This broad element really comes into its own as Tamino is \nrejected from Sarastro’s temple. Another trait of this performance is a \nbalancing affection: heard firstly perhaps in the string phrasing \nimmediately preceding the Overture’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and most obviously in the opening to act II. Yet the power of the \ntuttis of the Overture leaves on in no doubt as to Klemperer’s serious \nintent. And all that’s not to imply there is no humor here, either. His \ntriumph, though, is his overarching view of the work that enables it to \ncohere at a higher level. This is masterly conducting. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRichard Lewis as Tamino has not had the\n best critical reception, perhaps, but he has a fine dramatic grasp \nwhile capable of lyricism (“Dies Bildnis is bezaubernd schön”). There is\n a trace of strain there on occasion, but this remains a solid reading. \nNo one, surely, can heckle Geraint Evans’s birdcatcher, lusty and full \nof life (even if Klemperer’s tread in “Der Vogelfänger bin ich ja” seems\n to sap him of a little vim). Evans is perfectly modulated of voice also\n in his contributions to “Bei Männern” against Joan Carlyle’s \nbeautifully light-voiced, almost boyish at times, Pamina. Carlyle’s act \nII “Ach, ich fühl’s” is full of heartbreak. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut who even now does not have a little\n frisson when one hears the words “Sie kommt!” and we realize that she \nwho approaches is none other than Joan Sutherland, about to embark upon \n“O zittre nicht”? And she does not disappoint. Her voice is full, and \nshe certainly evinces a fearsome aspect for poor Tamino. There are some \nmoments when it is clear this is a live performance, and they would \nsurely have been tidied up in the studio, but Sutherland herself is as \nclear as a bell and vocally beautifully nimble. Similarly in act II, her\n “Der Hölle Rache”, while not the cleanest, certainly has all the \nrequisite force. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHans Hotter’s Speaker is as impeccable \nas one has come to expect from this singer and he remains a joy to hear \non vocal timbre terms alone. He brings a wisdom to the words, though, \nthat works on levels far greater than sheer beauty of sound. David \nKelly, in place of an indisposed Desző Ernster, takes the role of \nSarastro. His “O Isis und Osiris” is not the steadiest, for sure, but he\n does at least have the breath control to sustain the long phrases \n(especially long at Klemperer’s pace). His “In diesen heil’gen Hallen” \nhas more confidence. As Monostatos, Robert Bowman is nicely nimble in \n“Alles fühlt der Liebe Freuden.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOf the smaller roles, the Three Ladies are a well-balanced trio, while the Armored Men sing their \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecantus firmus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n resolutely. In fact despite the star names in the cast, one should make\n mention of the fact that ensembles are consistently fresh and \nbeautifully balanced. All praise, also, to the members of the Covent \nGarden Opera Chorus, who in their offstage contributions seem to carry a\n world of knowledge and who in the final celebrational moments of act I \nshine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePristine Classical itself admits to \nthe occasional fluctuations in sound quality, but they are all \nrelatively minor in comparison with the privilege we now have of \nexperiencing this performance complete. Unfortunately some of them do \noccur in the delightful “Ein Mädchen oder Weibchen.” That is not enough \nto contradict the statement that Andrew Rose’s remastering is a work of \nart in itself. And just as this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is an indispensable supplement to Kemperer’s famous studio recording, \nso his Columbia mono Mozart “Jupiter” is to his stereo. The transfer \nhere is from Columbia 33 CX 1257. Listen straight on from the opera, and\n the immediacy of the sound is remarkable (the venue was Kingsway Hall).\n Detail, too, is stunningly relayed. The gritty resolution of the first \nmovement development is to be expected from this source, perhaps, and \nseems entirely in keeping with Klemperer’s monumental reading. High \nviolins are always impeccably together here, wind always characterful. \nStepping back in time like this reminds one that, while musicologically \nspeaking we have learned much, maybe we have lost some of that sense of \ncharacter and, indeed, communicative ability. Unsurprisingly the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is properly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (almost in a Mahlerian sense, given the breadth of utterance here), yet\n the feel of Mozart’s genius remains undimmed. Yet the Menuetto is \ncloser to a Beethovenian scherzo (and how those lauded Philharmonia \nwinds shine) and the finale has an energy and inner momentum that seems \nmore appropriate to a live performance than a studio one. There is a \nreason performances like this survive the trials and travails of time, \nand Pristine’s offering reminds us why. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO115.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJoan Sutherland's only recorded Queen of the Night in The Magic Flute\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe complete Covent Garden broadcast of 1962 conducted by Klemperer - plus his 1954 Jupiter Symphony\u003cbr\u003e\u003cbr\u003e\"Sutherland's\n charisma is palpable. Her voice -- clear, agile, powerful, and \nsupernaturally brilliant -- is made for the part, and she sings with \nfluency that makes you forget all about technique and concentrate on the\n incandescent beauty of her voice.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis \u003cem\u003eMagic Flute\u003c\/em\u003e is a very special recording. Taken from a \nlive BBC broadcast from Covent Garden Opera House in January 1962, it is\n the only known recording of the great Joan Sutherland singing the role \nof The Queen of the Night - with the added bonus of a remarkable cast \nand conductor alongside her, including of course Hans Hotter, Richard \nLewis, Geraint Evans and Joan Carlyle. Although copies of the broadcast \nhave circulated amongst collectors over the years, it was thought that \nthe length of Act Two had led to the ending being lost, hence an \nincomplete release in poor sound on another label a few years ago.\u003c\/p\u003e\u003cp\u003eThe present transfer proves otherwise: taken from a tape in the \ncollection of Mark Hood and believed originally prepared for or by one \nof the performers, it is indeed complete, and includes the BBC Third \nProgramme announcements at start and finish. There are a couple of brief\n sections where the quality drops, believed to be patches to cover tape \nchanges; other, shorter drop-outs, to be expected in an older tape \nrecording such as this, have been successfully restored. XR remastering \nhas added depth and body to well-recorded FM broadcast sound, whilst \nbringing out greater levels of clarity in diction and in the upper \ntreble response; Ambient Stereo processing lends a sense of space and \ndimension to the original mono.\u003c\/p\u003e\u003cp\u003eGiven the duration of the complete performance - too long for two CDs - I opted to add Klemperer's 1954 mono \u003cem\u003eJupiter\u003c\/em\u003e\n Symphony, which EMI seems to have abandoned in favour of its stereo \nremake. XR's 32-bit remastering system has worked similar wonders on the\n sound here too.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\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\u003eMOZART  \u003c\/b\u003eDie Zauberflöte, K.620\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSoloists\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Covent Garden Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eStudents of St Martin-in-the-Fields Secondary School\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Covent Garden Orchestra\u003c\/b\u003e\u003cbr\u003eChorus Master - \u003cb\u003eDouglas Robinson\u003cbr\u003e\u003c\/b\u003eLeader - \u003cb\u003eCharles Taylor\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eRoyal Opera House, Covent Garden, London\u003cbr\u003eLive performance on the evening of 4 January 1962\u003cbr\u003eLive broadcast recording, BBC Third Programme \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eSymphony No. 41 in C, K.551, \"Jupiter\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eRecorded 5 October 1954, Kingsway Hall, London\u003cbr\u003eIssued as UK Columbia LP 33.CX.1257\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\/PACO115.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO115.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eDie Zauberflöte, K.620\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eTamino, an Egyptian Prince - \u003cem\u003eRichard Lewis\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFirst Lady, in attendance on the Queen of Night - \u003cem\u003eJudith Pierce\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eSecond Lady, in attendance on the Queen of Night -\u003cem\u003e Josephine Veasey\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThird Lady, in attendance on the Queen of Night - \u003cem\u003eMonica Sinclair\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003ePapageno, a bird-catcher - \u003cem\u003eGeraint Evans\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThe Queen of Night - \u003cem\u003eJoan Sutherland\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFirst Slave - \u003cem\u003eJohn Kollmann\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eSecond Slave - \u003cem\u003eArthur Cobbin\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThird Slave - \u003cem\u003eGeorge Barker\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eMonostatos, a Moor in the service of Sarastro - \u003cem\u003eRobert Bowman\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003ePamina, daughter of the Queen of Night -\u003cem\u003e Joan Carlyle\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFirst Boy, one of The Genii of the Temple - \u003cem\u003eMargaret Neville\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eSecond Boy, one of The Genii of the Temple - \u003cem\u003eAnn Hood\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThird Boy, one of The Genii of the Temple - \u003cem\u003eMarion Roberts\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThe Orator of the Temple - \u003cem\u003eHans Hotter\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eSarastro, High Priest of Osiris and Isis - \u003cem\u003eDavid Kelly\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFirst Priest - \u003cem\u003eJohn Dobson\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eSecond Priest - \u003cem\u003eRonald Lewis\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003ePapagena, Papageno's sweetheart - \u003cem\u003eJenifer Eddy\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFirst Man in Armour - \u003cem\u003eEdgar Evans\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eSecond Man in Armour - \u003cem\u003eVictor Godfrey\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eSlaves, Priests, People: \u003cbr\u003e\u003cb\u003eThe Covent Garden Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eStudents of St Martin-in-the-Fields Secondary School\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Covent Garden Orchestra\u003c\/b\u003e\u003cbr\u003eChorus Master - \u003cb\u003eDouglas Robinson\u003cbr\u003e\u003c\/b\u003eLeader - \u003cb\u003eCharles Taylor\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\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":32417449293,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417449421,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417449485,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417449613,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO115.jpg?v=1487682306"},{"product_id":"pasc448","title":"MUNCH The Complete New York Philharmonic Recordings (1947\/48) - PASC448","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSAINT-SAËNS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e: Symphony No. 3, “Organ”\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eD’INDY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e: Symphony on a French Mountain Air\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e: Piano Concerto No. 21\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e: Symphony No. 35, “Haffner”\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e: Piano Concerto No. 2\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHABRIER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e: Bourée Fantasque\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and Live recordings, 1947\/48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 12:55\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCharles Munch, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Casadesus, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eÉdouard Nies-Berger, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eorgan\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWalter Hendl \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArthur Schuller,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e piano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe sound of this 1947 NYPO Saint-Saëns Symphony is astonishingly good, almost beyond belief, and the performance is absolutely terrific578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese recordings were made between 1947\n and 1948 during the New York Philharmonic’s fleeting flirtation with \nCharles Munch. Producer Mark Obert-Thorn’s program note lays out the \nbrief history. On his arrival in the U.S. in 1946, Munch found himself \nin Boston. But in January 1947 he was engaged for a two-week guest \nappearance in New York. Audiences and critics alike were ecstatic. The \nday after his final concert, the New York Philharmonic’s permanent music\n director, Artur Rodziński, resigned his post in a snit over a dispute \nwith management that had nothing to do with Munch. Munch’s name was \nfloated as a potential replacement, but in the political turmoil created\n by Rodziński’s abrupt departure, the orchestra’s board members didn’t \nact fast enough; and while they dithered, Munch was snapped up by the \nBoston Symphony Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe temporary vacancy in New York was \nfilled by Leopold Stokowski and Dimitri Mitropoulos sharing the podium, \nuntil Mitropoulos assumed the post on a full-time basis in 1949. \nMeanwhile, however, Munch was invited back to New York as a guest \nconductor late in 1947, and again late in 1948, and it was during these \ntwo engagements, with the orchestra under contract to Columbia Records, \nthat these performances were recorded. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe first of them, the Saint-Saëns \n“Organ” Symphony, recorded live in Carnegie Hall on November 10, 1947, \nis of special historical interest because it’s the first commercial \nrecording of the work since Piero Coppola’s pioneering 1930 effort with \nthe Grand Orchestre Symphonique du Gramophone, and the first by an \nAmerican orchestra. A dozen years \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eafter\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n this Munch Saint-Saëns with the New York Philharmonic, the conductor \nwould of course go on to make one of the all-time classic recordings of \nthe work, for RCA in 1959 with the Boston Symphony Orchestra and Berj \nZamkochian at the organ. Munch had a special flair for the French \nrepertoire, which comes to the fore again in the later recorded d’Indy \nand Chabrier numbers in this collection. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe next two items on these discs—Vincent d’Indy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphony on a French Mountain Air\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and Mozart’s Piano Concerto No. 21—are studio recordings, both made on \nDecember 20, 1948, in New York’s Columbia 30th Street Studios. The \npianist on deck was Robert Casadesus, who subsequently went on to record\n a series of Mozart’s later piano concertos with George Szell and the \nColumbia Symphony Orchestra, and the d’Indy with Eugene Ormandy and the \nPhiladelphia Orchestra. Munch would also record the d’Indy again 10 \nyears later, but this time with the Boston Symphony Orchestra and Nicole\n Henriot-Schweitzer at the piano. To the best of my knowledge, Munch’s \nMozart discography is pretty slim. He did record a Piano Concerto No. 20\n with the Boston Symphony Orchestra and Clara Haskil in 1956, the “Linz”\n and “Prague” Symphonies with the BSO in 1959 and 1960, and most \nfamously, the Clarinet Concerto with the BSO and Benny Goodman in 1956. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Haffner” Symphony, Liszt Piano Concerto No. 2 with Casadesus, and the orchestral arrangement of Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBourrée fantasque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n by Felix Mottl are taken from a live CBS Philharmonic radio broadcast \nof a matinee concert on Sunday, December 19, 1948, the day before the \nMozart and d’Indy studio recording was made. Also included on that \nconcert was a performance of the d’Indy, but only the studio performance\n of the next day is included here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn provides the technical \nrecording details as follows: “The transfers of the commercial \nrecordings were made from American Columbia grey-label ‘six-eyes’ LP \npressings, which themselves were dubbed from 33-1\/3 rpm lacquer masters,\n edited together from four-minute long takes in those last days before \nthe introduction of magnetic tape. The broadcast came from a tape \ndubbing from original acetate discs.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is where I’d be expected to say \nsomething like “if you’re a Munch fan, you will surely want to add this \nto your collection, but…” the “but” being that Munch revisited the \nSaint-Saëns and d’Indy works a decade later in Boston for RCA in more \nup-to-date sound. That’s what I’d be expected to say, anyway, but \nfrankly, the sound of this 1947 NYPO Saint-Saëns Symphony is \nastonishingly good, almost beyond belief, really, in this Obert-Thorn \ntransfer; and the performance is absolutely terrific. Yes, the timpani \nare a bit muffled in the first half of the second movement, and the \norgan’s big entrance at the beginning of the finale may not raise the \ndead, but Munch’s way with the score is viscerally exiting, and the \norchestra’s response is fantastic. No wonder the audiences and critics \nwent wild. One can’t help but wonder what might have been had New York \noffered Munch the directorship before Boston did. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI should probably mention at this point\n that the December 19, 1948 broadcast concert has been previously \nreleased in full by Lys—meaning it includes the live concert d’Indy \nomitted from this set in favor of the following day’s studio recording. \nAlso, I find myself questioning the claim that these are Munch’s \ncomplete New York Philharmonic recordings. I’m looking at a detailed and\n comprehensive Munch discography at en.wikipedia.org\/wiki\/Charles Munch \ndiscography, and from January 2, 1949, there’s a recorded broadcast of a\n concert with Munch conducting the NYPO in Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis et Chloé\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Suite No. 2, and featuring violinist Ginette Neveu performing Chausson’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTzigane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Those performances are available on a two-disc Music \u0026amp; Arts set, 837, containing other non-Munch, non-NYPO material. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eYou’d think that the d’Indy \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphony on a French Mountain Air\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n having been recorded a year later and under studio conditions would \nhave even better sound than the Saint-Saëns, but it doesn’t. In fact, \nit’s rather poor, with a frequent low rumbling and some fairly \npronounced overload distortion in loud passages. I haven’t heard the \nday-before in-concert version on Lys, but I wonder if using it instead \nof this studio recording might have been preferable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Mozart Concerto with Casadesus not \nonly exceeded my expectations, it’s even better, I think, than the \npianist’s later remake with Szell and the Cleveland Orchestra. There’s a\n buoyancy to Munch’s upbeat tempo and rhythmic alertness—listen to how \nfast Munch takes the finale—that carry Casadesus right along in a \nreading that sounds more natural, more spontaneous, and happier than \ndoes his rather straitlaced performance under Szell. Casadesus provides \nhis own cadenzas, and the sound is terrific. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Mozart Symphony, Liszt Concerto, \nand Chabrier arrangement are prefaced on disc two of this set by a \nspoken introduction to the radio broadcast by Deems Taylor. Munch takes \nthe “Haffner” Symphony at a good clip, but his reading sounds a bit \nformally stiff. The conductor doesn’t sound quite as comfortable or as \nunbuttoned as he is in the concerto with Casadesus. The New York \nPhilharmonic, however, gives Munch playing of unparalleled discipline, \nand for a radio broadcast, the sound is really very good. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMore talk from radio show host Taylor \nfollows applause at the end of the symphony and introduces the Liszt \nConcerto. Casadesus was not the sort of flashy virtuoso pianist I would \nordinarily associate with Liszt, but his performance of the composer’s \nSecond Piano Concerto at that December 19, 1948 matinee concert was \nastonishingly—frighteningly, really—diabolical. Liszt’s orchestration \noccasionally overwhelms the recorded sound; the timpani, especially, can\n take on the sound of muffled, distorted war drums in the distance. But \nCasadesus’s piano comes through with pristine clarity. There’s more \nchatter from Taylor at the end of the Liszt over loud applause and in \npreface to the final work on that day’s program, a lollipops orchestral \narrangement of Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBourrée fantasque. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is a collection not just for the \nMunch fan. In many ways, it illustrates how conscious of and \nconscientious towards appropriate style a number of great conductors and\n orchestras were back in the day before the HIP movement gained \ntraction. Munch’s tempos, French refinements, and musical instincts \nbring most of these works to life in ways that many of today’s podium \nmaestros have reason to envy. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJerry Dubins\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC448.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eComplete Charles Munch with the New York Philharmonic\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Munch’s\n way with the score is viscerally exiting, and the orchestra’s response \nis fantastic. No wonder the audiences and critics went wild\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThe \nrecordings in this collection document a brief but memorable \ncollaboration in the histories of Charles Munch and the New York \nPhilharmonic.  Munch had been scheduled to make his American début in \nDecember, 1939, but war intervened.  When he finally arrived precisely \nseven years later, it was to begin a three month tour throughout the \nUnited States and Canada.  Although the first stop was, propitiously, \nBoston, New York was next on the itinerary.\u003c\/p\u003e\n\u003cp\u003eMunch\n began a two-week stay with the Philharmonic on January 23, 1947.  The \nresponse from audience, critics and orchestra alike was ecstatic.  “The \ninstant that Charles Muench [as his name was then spelled] raised his \nbaton as guest conductor,” critic Olin Downes wrote, “[. . .] it was \nevident that we had with us a superb musician and orchestra leader to \nboot.”  The backstage reception at the end of his stay was reported to \nhave rivaled that given to Arturo Toscanini at his departure from the \nensemble.  Coincidentally, the next day, the Philharmonic’s music \ndirector Artur Rodziński announced his resignation due to unrelated \ngrievances.  Immediately, speculation centered on Munch as a potential \nreplacement.\u003c\/p\u003e\n\u003cp\u003eMunch\n appeared with the orchestra again late in 1947, and this time Columbia \nRecords, which had the Philharmonic under contract, took advantage of \nhis presence to make the conductor’s first American recording, the \nSaint-Saëns “Organ” Symphony.  This was the first recording of the work \nsince Piero Coppola’s pioneering 1930 set, and would remain unchallenged\n in the catalog for several more years. \u003c\/p\u003e\n\u003cp\u003eAt \nthe end of the following year, Munch would make two more recordings with\n the orchestra of works by D’Indy and Mozart, both with fellow Frenchman\n pianist Robert Casadesus.  But there would be no more collaborations on\n disc with the Philharmonic, for by that time Munch had already signed \nwith the Boston Symphony to become their music director starting with \nthe 1949-50 season.  He would not appear again as guest conductor with \nthe Philharmonic until 1965, after his Boston tenure ended, and he \nconducted them for the last time in 1967. \u003c\/p\u003e\n\u003cp\u003eTo \nfill out this modest discography, I have added portions of the Sunday \nafternoon CBS Philharmonic broadcast from the day before the D’Indy and \nMozart recording session.  It is complete except for a live performance \nof the D’Indy, and the program and commentary have been edited so as to \npresent it as a self-contained “mini-concert”.  (The commentator is \nwriter, composer and broadcaster Deems Taylor, best remembered today for\n his similar hosting duties in the Walt Disney film, Fantasia.) \u003c\/p\u003e\n\u003cp\u003eEach \nwork is significant in Munch’s repertoire.  He never made a commercial \nrecording of any Mozart symphony, usually being relegated on disc to \nconcerto accompaniments.  His only other recording of Liszt was a \nwartime set of the First Concerto; and despite his many discs of French \nrepertoire, he never recorded any Chabrier at all.\u003c\/p\u003e\n\u003cp\u003eThe \ntransfers of the commercial recordings were made from American Columbia \ngrey-label “six-eyes” LP pressings, which themselves were dubbed from 33\n 1\/3 rpm lacquer masters, edited together from four-minute long takes in\n those last days before the introduction of magnetic tape.  The \nbroadcast came from a tape dubbing from original acetate discs.  \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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSAINT-SAËNS  \u003c\/b\u003eSymphony No. 3 in C minor, Op. 78, “Organ”\u003cspan style=\"font-size: small;\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 10 November 1947 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.: XCO-39319\/26\u003cbr\u003eFirst issued on Columbia M-747 (78 rpm) and ML-4120 (LP)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eD’INDY  \u003c\/b\u003eSymphony on a French Mountain Air, Op. 25\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 20 December 1948 in the Columbia 30th Street Studios, New York\u003cbr\u003eMatrix nos.: XCO-39925\/30\u003cbr\u003eFirst issued on Columbia M-911 (78 rpm) and ML-4298 (LP)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 21 in C major, K.467\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 20 December 1948 in the Columbia 30th Street Studios, New York\u003cbr\u003eMatrix nos.: XCO-39931\/38\u003cbr\u003eFirst issued on Columbia M-866 (78 rpm) and ML-2067 (LP)\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eFrom the CBS broadcast of 19 December 1948 at Carnegie Hall: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eSymphony No. 35 in D major, K.385, “Haffner”\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLISZT  \u003c\/b\u003ePiano Concerto No. 2 in A major, S.125\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHABRIER (orch. Mottl)  \u003c\/b\u003eBourée Fantasque\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e     \u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003ePhilharmonic-Symphony Orchestra of New York ∙ Charles Munch\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eRobert Casadesus\u003c\/b\u003e (piano) (D’Indy, Mozart K. 467, Liszt)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eÉdouard Nies-Berger\u003c\/b\u003e (organ) (Saint-Saëns)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eWalter Hendl\u003c\/b\u003e and\u003cb\u003e Arthur Schuller\u003c\/b\u003e (piano) (Saint-Saëns)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\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\/PASC448.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC448.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":29977296011325,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":29977296044093,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC448.jpg?v=1568380967"},{"product_id":"pasc305","title":"PFITZNER conducts Overtures (1927-33) - PASC305","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART, WEBER, MENDELSSOHN\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Overtures\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLORTZING, LANNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Overtures\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in Berlin, 1927-33\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:01\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin State Opera Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e Hans Pfitzner\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fExpert transfers from Mark Obert-Thorn578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough Hans Pfitzner’s symphonic \nrecordings (Beethoven and Schumann) have been widely circulated on CD \n(Naxos and Preiser), his recordings of shorter works have not, and this \ndisc of early electricals (1927–33) usefully fills a gap. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performances are of variable \nquality: Pfitzner was by all accounts an impressive all-around musician \nbut not the most technically accomplished of conductors, and this \nlimitation is felt more acutely here than on the larger canvases of his \nBeethoven symphony recordings, where his idiosyncratic interpretive \nvision usually survived any shortcomings of technique. The collection \ngets off to a good start with a spirited \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFigaro,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with nicely observed detail and not over-driven. Also impressive is the urgent (8:39), restless, volatile \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHebrides.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Recorded with the Berlin Philharmonic in 1928, its lean \nsonorities—sweet strings and light-toned, vibrato-free wind playing, \nwith fast-speaking articulation—make a fascinating contrast with the \ndark, saturated tonal blend Furtwängler draws from the same players in \nhis own recording of just two years later (Naxos or Koch). \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is bedeviled by constant fussy tempo changes (Pfitzner slows down every\n time for the woodwind figure in eighth notes, then speeds up again), \nand has a crude excision from the recapitulation to accommodate it on \none side. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is rhythmically approximate, with slack, uncoordinated string \nsyncopations in the main theme. It also suffers from crude wind \nreinforcement of the string basses, producing a grotesque honking effect\n in the quiet “Wolf’s Glen” passages. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePreciosa\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJubel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e are spirited enough, if a little scrappy, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is impetuous and exciting, benefiting greatly from the superior playing\n of the Berlin Philharmonic. The Lortzing and Lanner are welcome \nrarities (especially the latter—a real gem!), given affectionate and \nidiomatic performances. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eSo, nothing earthshaking, but an \nenterprising collection that will be of much interest to historic \ncollectors. Expert transfers from Mark Obert-Thorn, and credit to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e colleague Richard A. Kaplan for supplying the original 78s. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC305.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eA fine collection of overtures conducted by Hans Pfitzner\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An enterprising collection that will be of much interest to historic collectors\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003ePrevious reissues devoted to composer\/conductor Hans \nPfitzner have focused on his recordings of Beethoven and Schumann \nsymphonies, as well as those of his own compositions. This release \nbrings together (for the first time, I believe) his complete \ncommercially-issued electrical recordings of works by other composers – \nmainly overtures, and in one case a waltz.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were French Polydor \npressings of the two Mozart overtures, the Oberon Overture and part of \nthe Hebrides Overture. The rest of the Hebrides came from a British \nDecca pressing, and the remaining items came from German Polydor or \nGrammophon discs. The Freischütz and Preciosa Overtures were recorded \nusing Brunswick’s “Light-Ray” process. Notorious for the distortion it \nproduced during loud passages, it was quickly abandoned by Polydor.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Le nozze di Figaro – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 255 BS II\u003cbr\u003eFirst issued on Grammophon\/Polydor 27066\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Così fan tutte – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 256 BS II\u003cbr\u003eFirst issued on Grammophon\/Polydor 27066\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Der Freischütz – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix nos.: 320 ½ bi, 321 bi and 322 bi\u003cbr\u003eFirst issued on Grammophon\/Polydor 66545\/6\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Preciosa – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 323 bi and 324 bi\u003cbr\u003eFirst issued on Grammophon\/Polydor 66544\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Oberon – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 917 bm and 918 bm\u003cbr\u003eFirst issued on Grammophon\/Polydor 95091\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Jubel Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 921 ½ bm and 922 bm\u003cbr\u003eFirst issued on Grammophon\/Polydor 19858\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Hebrides Overture (Fingal’s Cave)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 919 bm and 929 BI I\u003cbr\u003eFirst issued on Grammophon\/Polydor 95372\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLORTZING\u003c\/b\u003e Zar und Zimmermann – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 1627 BM I and 1628 BM I\u003cbr\u003eFirst issued on Grammophon\/Polydor 27069\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLANNER\u003c\/b\u003e Pestherwalzer, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eMatrix no.: 5294 ½ BD 3 and 5295 ½ BD 3\u003cbr\u003eFirst issued on Grammophon\/Polydor 10133\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRecording dates\u003c\/b\u003e\u003cbr\u003e1927 (3, 4)\u003cbr\u003e1928 (5, 6, 7)\u003cbr\u003e1929 (1, 2, 7, 8)\u003cbr\u003e1933 (9) \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eBerlin State Opera Orchestra\u003c\/b\u003e (1-4, 8, 9)\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra \u003c\/b\u003e(5-7)\u003cb\u003e\u003cbr\u003e\u003c\/b\u003econductor\u003cb\u003e Hans Pfitzner\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded in Berlin, 1927-33\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Hans Pfitnzer by Wanda von Debschitz-Kunowski, ca 1910\u003cbr\u003eSpecial thanks to Richard Kaplan for providing source material \u003cbr\u003eTotal duration: 64:01\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\/PASC305.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC305.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":32481546061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32481546317,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC305_88e42d1c-1790-428e-8261-d87ee7a46e53.jpg?v=1487689732"},{"product_id":"pacm017","title":"PRISCA QUARTET Mozart: Quartet No. 16 (1935) - PACM017","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet No. 16 in E flat, K.428\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 April 1935, Raum VII (Lützowstraße 76), Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 33'26\"\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Munch-Holland, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarl Eugen Korner, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWill Smit, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWalter Prisca, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM017.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMozart's third \"Haydn Quartet\" in a rare 1935 recording\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMozart's string quartets were surprisingly neglected during the 78rpm\n era, and it was astonishing to find that this masterpiece from his \nseries of six quartets dedicated to Haydn received almost no attention \nwhatsoever. We managed to trace a 1912 recording of the third movement, \nand a later US recording (by the Busch Quartet) of the full work, but \nthis rare use appears to be the first attempt to make available \ncommercially Mozart's 16th String Quartet.\u003cbr\u003e\u003cbr\u003eThe plot thickens when\n we try to find out more about the quartet and this recording, probably \ndue to its heritage. An authoritative guide to British 78rpm releases \nstates that Decca released no material in collaboration with the German \nPolydor label between 1933 and 1941, yet these discs are all stamped \nwith the German mechanical copyright imprint, dated 1935, and it was \nfrom this alone that we were originally able to date the recording.\u003cbr\u003e\u003cbr\u003eOf\n the Prisca Quartet, we know of Hans Munch-Holland from his involvement \nwith Max Strub and the Strub Quartet - in particular his contribution to\n their recording of the Bruckner Quintet, remastered and reissued by \nPristine Audio as PACM006. The Prisca Quartet also recorded Mozart's \n20th Quartet, K.499, as well as works by Haydn and Schubert, and the \nBruckner Quintet with S. Meineke. We've also found mention of a \nrecording of Verdi's Quartet in E minor.\u003cbr\u003e\u003cbr\u003eBeyond that the trail \nruns dry thus far. What I can say is that this is one of Mozart's finest\n quartets, the playing and recording are both superb here, and those \nwith a sharp ear will note the homage Mozart plays in the third movement\n to Haydn, basing his Minuet very closely indeed to the Scherzo in \nHaydn's Quartet in E flat major, Op.33 No.2 (\"Joke\"), as released on \nPristine Audio's PACM013, The Haydn Quartet Society, Volume Three.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\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\u003cb\u003eMOZART \u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003eQuartet No. 16 in E flat, K.428\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 24 April 1935, Raum VII (Lützowstraße 76), Berlin\u003cbr\u003eIssued in the UK as Decca \"Polydor\" Series DE.7036-DE.7039\u003cbr\u003eMatrix numbers: 2637gn, 2638½gn, 2639½gn, 2640gn, 2641½gn, 2642½gn, 2643½gn, 2644½gn.\u003cbr\u003e(Duration 33'26\")\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eWalter Prisca, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eWill Smit\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eCarl Eugen Korner\u003c\/b\u003e, viola\u003cb\u003e \u003cbr\u003eHans Munch-Holland, \u003c\/b\u003ecello\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM017.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM017.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":31418205709,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418205773,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM017.jpg?v=1487682446"},{"product_id":"paco019","title":"SCHUMANN BBC Lecture Recitals (1950, 1951) - PACO019","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELISABETH SCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Illustrated lectures\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBBC Radio broadcasts from 1950 and 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 52:03\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eElisabeth Schumann, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnest Lush, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\"This\n is so much more than a record of a singer performing songs; it is a \nwindow to another era, the era of Slezak and Gadski, Gerhardt and Paul \nReimers, singers for whom expression was as important as musicality. \nNeedless to say, Pristine Classical enhances the sound quality of the \noriginal disc, although a small amount of the original surface swish \nremains. Indispensable for fans of the soprano as well as for vocal \nstudents wanting to learn more about the interpretation of Lied.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e - Fanfare, May\/June 2008\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO019.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBBC Lecture-Recitals, 1950, 1951\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAs given by by Elisabeth Schumann\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese lectures offer a fascinating insight into the life and music of\n the much-loved soprano, Elisabeth Schumann, speaking at the end of her \nlife (she died in 1952). Amongst the musical suggestions and \nillustrations she sprinkles anecdotal gems, such as can be heard in our \nsample here, where Brahms berates the orchestra of Arthur Nikisch and \ndemands that they play more \"blue\".\u003cbr\u003e\u003cbr\u003eShe leads us through a \nmusical journey of lied singing, and with expert accompaniment from \npianist Ernest Lush, offers seven full songs, plus numerous short \nexamples from both these and other works. Despite the simplicity of the \n1950's BBC presentational style, the programmes move along at a good \npace, neither overly technical nor glib - two delightful and rare \nofferings from one of the world's great singers.\u003cbr\u003e\u003cbr\u003eNotes on the \nrestoration:This recording came to us via a \"private issue\" 33rpm LP, \nwhich had clearly been mastered from older, probably acetate 78spm, \nrecords. Both lectures were originally rather murky and scratchy, with \nvarying amounts of noise and hiss throughout. I've used a series of \ntechniques modified from our usual XR restoration methods to improve the\n tonal quality of both speech and singing here, and carried out a huge \namount of declicking and decrackling, as well as a considerable amount \nof noise reduction. Some remnants of the original poor quality sound \ndoes, inevitably, remain - largely in the background - and should not be\n a distraction from the fascinating musical and speech contain to be \nfound herein.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e Mozart\u003c\/b\u003e: Das Veilchen (KV.476)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Schubert\u003c\/b\u003e: Lachen und Weinen (D.777)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Wolf\u003c\/b\u003e: Mausfallen-Spruchlein\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Brahms\u003c\/b\u003e: Vergeliches Ständchen (Op. 84 No. 4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e R. Strauss\u003c\/b\u003e: Morgen (Op. 27 No. 4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Schubert\u003c\/b\u003e: Die Forelle (D.550)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eWolf\u003c\/b\u003e: In dem Schatten meiner Locken\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBBC Radio broadcasts from 1950 and 1951\u003cbr\u003e\u003cbr\u003eTransferred from private LP issue EJS-328\u003cbr\u003eOriginal source probably acetate 78rpm discs\u003cbr\u003e\u003cbr\u003ePristine Audio remastering by Andrew Rose, August 2007\u003cbr\u003eDuration 52:03\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eElisabeth Schumann, \u003c\/b\u003esoprano\u003cbr\u003e\u003cb\u003eErnest Lush, \u003c\/b\u003epiano\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\/PACO019.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO019.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":33989369933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33989370061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO019.jpg?v=1489416650"},{"product_id":"pakm067","title":"SPIVAKOVSKY Bach to Bloch, Volume 2 (1955-67) - PAKM067","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBach-Busoni\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Chromatic Fantasy and Fugue\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Sonata No. 12 in F\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ecossaises in E Flat \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Rondo in G major \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eChopin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Fantaisie Impromptu\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eChopin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Sonata No. 2 in B flat Minor, “The Funeral March\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1955-1967\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 77:12 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Spivakovsky,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e piano\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is wonderful stuff here, including a magisterial reading of the Bach-Busoni, grandly paced, and glowing with that “golden age” sonority578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine’s reissues of these recordings\n of this Russian-born pianist (volume three, featuring Beethoven \nsonatas, is on the way) are creating a bit of a stir among pianophiles, \nespecially those with an interest in historic performances. More than a \nfew respected critics are hailing Spivakovsky as a heretofore unknown \ngiant of the keyboard, taking his place alongside Horowitz, Richter, \nArgerich, and so on. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e critics Colin Clarke and Jim Svejda both offered high praise, with qualifications, for Volume 1. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs both of my colleagues have pointed \nout, these are not commercial recordings, but rather homemade ones by \nhis son, in post-World War II Australia, where Spivakovsky spent most of\n life. His biography is tragic in many ways, but also heroic in a \nmade-for-Hollywood kind of way. He was born in 1896 in Kiev to a \nlegendary family of Jewish musicians, and barely survived the Odessa \npogrom of 1905. Despite his early fame as a prodigy, his family decided \nto flee the virulent anti-Semitism of Tsarist Russia and landed in \nBerlin, where Spivakovsky continued his education at the highest level. \nAs a mature soloist, he performed with such podium masters as \nFurtwängler, Strauss, Knappertsbusch, Szell, and Monteux. In 1937, for \nthe second time in his life, he escaped persecution with bullets flying \nover his head. He became a proud Australian citizen in 1938, where he \ndied in 1970. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere’s the rub; for reasons unknown, he\n did not make recordings. These three CDs may constitute his only \nlegacy. It’s puzzling; it is true that Australia did not have much of a \nrecording industry at the time, but he continued to concertize regularly\n after the war, with visits to Europe and America, including a Carnegie \nHall recital. One would assume that as a major performer he had some \nkind of agent representing him. Was he afraid of the microphone? We may \nnever know. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSvejda concludes that we cannot judge \nSpivakovsky’s place in piano history on the basis of these handful of \namateur recordings, and I have to agree. There is wonderful stuff here, \nincluding a magisterial reading of the Bach-Busoni, grandly paced, and \nglowing with that “golden age” sonority (kudos to Pristine restoration \nmaestro Andrew Rose for extracting that from the original tapes). The \nMozart is buoyant and brilliant, the Beethoven confident and richly \nvoiced. I was not bowled over by this Chopin, however, beginning with an\n overly brusque \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFantaisie-Impromptu\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The sonata opens oddly, with an overly broad tempo and lurching \nrhythms. Once he settles down, this is very strong, recalling the \nfreedom and imagination of Rachmaninoff’s fabled recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eSo, we have here a glimmer of artistic greatness, and an incredible story. Maybe Spivakovsky \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ewas\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n one of the greatest pianists in history, but unless a new trove of \nundiscovered recordings comes to light, there is simply not enough \nevidence here to substantiate such a grandiose claim. I would certainly \nlook forward to the movie biography, however. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePeter Burwasser\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM067.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Spivakovsky: Second splendid volume from the brilliant pianist\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eMore unreleased recordings from the Spivakovsky family archive, XR remastered by Andrew Rose \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFollowing on from the well-received first volume, this second release\n by Jascha Spivakovsky continues to concentrate on his solo work. The \npresent recordings were made by Jascha during rehearsals for concerts \nand broadcasts in Australia in the 1950s and 1960s, and were recorded by\n Michael Spivakovsky onto a mono Tandberg reel-to-reel tape recorder \nusing a standard-issue microphone. They were not therefore intended for \nrelease, and it has been my task to elevate the quality of the \nrecordings to a standard which not only is acceptable to modern \nlisteners but also does full justice to Jascha Spivakovsky himself.\u003c\/p\u003e\u003cp\u003eUsing the most up-to-date audio restoration and remastering software,\n I've been able to correct pitch anomalies, compensate for the tonal \ninaccuracies of the microphone, eliminate electrical hum, greatly \ndiminish tape hiss, and digitally \"rehouse\" Jascha in one of the more \nintimate concert halls at Santa Cecilia, Rome, renowned for fine musical\n acoustics which complement the piano's tone, without introducing a wash\n of unnatural reverberation.\u003c\/p\u003e\u003cp\u003eThis page can only serve as an introduction to the incredible musical\n story of Jascha Spivakovsky - for a fuller picture I strongly recommend\n you visit \u003ca href=\"http:\/\/www.jascha.com\/\" target=\"_blank\"\u003ewww.jascha.com\u003c\/a\u003e and immerse yourself in an amazing musical voyage of discovery. \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBach-Busoni-Spivakovsky\u003c\/b\u003e Chromatic Fantasia and Fugue in D Minor BWV 903 \u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded 1962\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eMozart\u003c\/b\u003e  Sonata No 12 in F Major K332 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded 1966\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBeethoven-d'Albert\u003c\/b\u003e  Ecossaises in E Flat Wo 083 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded February 1967\u003c\/i\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003ci\u003e \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBeethoven \u003c\/b\u003e Rondo in G Major Op 51 No 2\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003eRecorded  February 1967 \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eChopin  \u003c\/b\u003eFantaisie Impromptu in C sharp Minor, Op Posth 66\u003cem\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded  1955  \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eChopin\u003c\/b\u003e  Sonata No 2 in B Flat Minor (The Funeral March Sonata)\u003cem\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003eRecorded November, 1963\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Spivakovsky\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"text-decoration: underline; color: #0000ff;\"\u003e\u003ca href=\"http:\/\/www.jascha.com\/\" target=\"_blank\"\u003e\u003cspan style=\"color: #0000ff;\"\u003ewww.jascha.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003ePrivate recordings were made in Jascha Spivakovsky's music room in Melbourne, Australia by Michael Spivakovsky\u003cbr\u003eTransfers by Crystal Mastering, Melbourne, Australia\u003cbr\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio\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\/PAKM067.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM067.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fDetailed Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eJascha Spivakovsky\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBach to Bloch: Volume 2 \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\n            Bach-Busoni-Spivakovsky: Chromatic Fantasia \u0026amp; Fugue in D Minor\n        \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        In his dramatic 1962 performance of Bach’s famous Chromatic Fantasia\n        and Fugue in D Minor, Spivakovsky uses the Busoni edition, to which he\n        adds a number of small amendments of his own, primarily doubling some\n        notes and adjusting registers so as to highlight a climactic phrase. As\n        with the Bach-Liszt work featured in Volume 1, Spivakovsky’s\n        transparency and precision reveal the structure of the work with\n        astounding clarity through his attentive voicing, varied articulation,\n        and subtle nuancing. Pedaling is used with the utmost subtlety to\n        sustain sonorities and clear them at the right moment, adding gravitas\n        and drama to the reading. While trained in the Romantic tradition,\n        Spivakovsky takes a remarkably direct approach to Bach, although he\n        applies rubato and tempo adjustments at connecting passages to draw\n        attention to shifts in musical direction and structure (notice the\n        extended trills and the occasional delay at the end of a phrase). The\n        idiomatic declamatory oratorial style of Bach’s writing is underscored\n        in the mindful emphatic voicing of key musical phrases and with a\n        natural rise-and-fall cadence, presenting phrases as if they were sung\n        by the human voice. Spivakovsky’s full-bodied sonority exploits the\n        varied tonal and dynamic range that both the piano and this arrangement\n        make possible, his comprehensive technique used solely to reveal the\n        character and structure of the work. As the Neue Preußische Zeitung in\n        Berlin stated in 1925, \"he filled Bach's Chromatic Fantasy and Fugue\n        with vital substance.”\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eMozart: Sonata No.12 in F Major K.332\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s 1966 account of Mozart’s Sonata in F Major is a robust\n        interpretation that reflects the revolutionary spirit of the composer’s\n        writing. The pianist did not view Mozart’s music as effeminate or\n        dainty (as did many of his contemporaries and as do some present-day\n        pianists), playing instead with directness and strength fused with the\n        utmost sensitivity. Indeed, The Age in Melbourne stated in 1947 about\n        the pianist’s playing of this sonata, “With so many pianists essaying\n        sonatas on Mozart, it was a rare pleasure to hear the recitalist\n        declare the master's excellence free from blemish and with the charm\n        associated with his name.” Spivakovsky is clean and precise in his\n        delivery while his discreet pedaling, seamless finger legato, and\n        defined articulation are extremely sensitive while being neither\n        delicate nor flowery. Voicing is beautifully balanced between the hands\n        and the crispness of articulation is varied to give shaping to\n        phrasing. The first movement features crystalline phrasing and\n        transparent voicing together with pronounced accenting that\n        nevertheless does not break the melodic line. In the second movement we\n        hear an ideal balance of finger legato and detached articulation\n        brilliantly used to shape the phrasing, while the mood shift brought\n        about by a change in key from minor to major is underscored through a\n        slight dynamic and tempo increase. The vitality of the closing movement\n        is remarkable, with Spivakovsky’s impeccable dexterity and rhythmic\n        precision (he was in his 70th year at the time) moving the work forward\n        in its optimistic spirit. A bold and dramatic yet attentively nuanced\n        reading of a classical masterpiece.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBeethoven-d’Albert: Ecossaises in E-Flat Major Wo.083\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eBeethoven: Rondo in G Major Op.51 No.2\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Recordings from February 1967 find the 70-year-old Spivakovsky playing\n        two Beethoven ‘encores’ with his full range of pianistic skills to\n        highlight their charm and humour. The delightful bounce and ebullient\n        rhythm in the d’Albert version of the Ecossaise, which the pianist\n        often played as an encore, bring to the work an utterly infectious\n        charm. Even in what might be considered a trifle, Spivakovsky’s\n        musicality is on display, with attentive and creative tempo adjustments\n        serving to bridge different sections while his varied articulation and\n        clear voicing shape phrasing and give dimension to the character of the\n        work.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        The Mail in Adelaide stated in 1922 that \"Nothing more deliciously\n        exquisite has been heard at any of these recitals than Beethoven's\n        wonderfully graceful Rondo in G Major” and in this reading of that work\n        45 years later, we hear delightfully clear runs and trills, rhythmic\n        vitality, and poised voicing, all with the pianist’s glowing sonority\n        and crystalline transparency.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\n            Chopin: Fantaisie Impromptu in C-Sharp Minor Op. Posth 66\n        \u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        The 1955 recording of Chopin’s famous Fantaisie Impromptu may be one of\n        the most impassioned on record, finding Spivakovsky at his most bold\n        and impetuous. Some listeners might be taken aback by this fiery\n        reading, but it is worth noting that the pianist is following the score\n        precisely (he was using the Peters edition), from tempo indications to\n        pedal markings. That said, the performance is also imbued with an\n        individual approach to voicing and rubato - as was expected from\n        pianists trained in the Romantic tradition - as well as with other\n        pianistic hallmarks of the period: beautiful tone, crafted phrasing,\n        balanced voicing between hands, and the highlighting of left hand\n        harmonic support. For all the depth, power, and momentum in this\n        interpretation, there is an abundance of subtlety and sensitivity that\n        listeners primarily focused on Spivakovsky’s tempo and boldness might\n        miss because they are so used to more sentimental readings of this\n        famous work. Particularly noteworthy is the pianist’s attention to\n        connecting phrases and sections, where the last note of one phrase is\n        of consistent tonal colour and dynamic level as the first of the next,\n        particularly noticeable as he enters and leaves the middle section. The\n        soaring melodic line in the middle section, while despatched with\n        directness and an absence of sentimentality, is brimming over with\n        emotion through its clarity and skilled adjustments of tone, dynamics,\n        and timing. As can always be expected in a Spivakovsky performance,\n        rubato takes into account the structure of a phrase and its location\n        within the overall work and is used to draw attention to a key musical\n        element or to prepare the listener for what is coming next. A thrilling\n        reading that emphasizes both the ‘fantaisie’ and spontaneous\n        ‘impromptu’ aspects of the composition’s title.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        \u003cstrong\u003eChopin: Sonata in B-Flat Minor Op.35, ‘\u003c\/strong\u003e\n        \u003cstrong\u003eFuneral March’\u003c\/strong\u003e\n        \u003cstrong\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003cp\u003e\n        Spivakovsky’s November 1963 reading of Chopin’s famous ‘Funeral March\n        Sonata’ is one that demonstrates his insightful and individual approach\n        to the Romantic repertoire. The pianist looks to the score without\n        letting traditional performances colour his perspective, thereby\n        forging a fascinating vision of the opening movement. He chooses to\n        express the composer's \u003cem\u003eAgitato\u003c\/em\u003e marking by creating a mood that\n        is more introspectively nervous as opposed to externally dramatic and\n        anguished, beginning that section at a slower tempo and using minimal\n        pedal, applying a relatively dry, unsettling staccato touch. He slowly\n        evolves the sound, using more pedal and accelerating the tempo, while\n        observing the rests between the 2- and 3-note slurs in the melody,\n        while his pedaling follows the breaks in the Cortot edition.\n        Spivakovsky's striking opening stays with us, colouring his performance\n        and preparing the the way for his many other personal touches through\n        the movement, where he uses more pronounced pedal with his lyrical\n        phrasing, as well as his identifiable rubato to transition carefully\n        between phrases and sections. The second movement is notable for the\n        attentively voiced chords and octaves, with glistening tone in the\n        upper register, as well as his beautiful legato phrasing and expansive\n        rubato - The News in Adelaide wrote in 1933 that “his manipulation of\n        the Scherzo was amazing, and he plumbed the very depths of emotional\n        playing.” The famous Funeral March theme of the third movement is\n        richly voiced and played in a straight tempo that communicates its\n        solemnity, with the middle Trio played with a more richly coloured\n        melodic line and expansive rubato, with the return to the Funeral March\n        theme being subdued and appropriately melancholic. The Finale is played\n        with fantastically deft finger-work and phenomenally consistent\n        voicing, with careful pedaling and adjustments to dynamics and attack\n        serving to create an atmosphere that The News had called “ephemeral,\n        fleeting, and eerie” and bringing to a close a boldly original and\n        inspired reading of a great Romantic masterpiece.\n    \u003c\/p\u003e\n    \u003cp\u003e\n        - Mark Ainley\n    \u003c\/p\u003e\n\u003c\/div\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":29977278218301,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":29977278251069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":29977278283837,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":29977278316605,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM067_cb1ee9ca-a95e-4e9d-89b3-96151d82951d.jpg?v=1568380721"},{"product_id":"pasc452","title":"WALTER Rarities: American Columbia Recordings (1941-55) - PASC452","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 41, ‘Jupiter’\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 5\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 8, ‘Unfinished’\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Emperor Waltz\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Song of Destiny\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 8\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 18:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eColumbia Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe best is saved for last here, in the form of an absolutely crackerjack performance of the Dvořák Eighth Symphony578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOnce again, doughty Pristine Audio \nbravely steps into the breach to fill in a gaping hole in the \ndiscography of famous performances that the holders of the original \nrecordings have failed to address. In this case, we are provided with \nsuperior transfers of wartime and post-war Columbias by Bruno Walter \nthat did not make it into either Sony’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBruno Walter Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n or any of its other domestic issues of Walter recordings. Foreign \nreleases of these renditions have been spotty or non-existent; indeed, \ntwo items (the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n and the Schubert Fifth Symphony) make their debuts on CD here. Since \nWalter rerecorded all of these works except for the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo in stereo (the omission of that from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBW Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n being a strange oversight), reissuance of these recordings was \nevidently not seen by Sony as either a necessity or a priority. Also, \nwith one very significant exception, Walter made superior recordings of \nthe four symphonies included in this set, and so there has not been a \npent-up demand among collectors (apart from die-hard Walterians such as \nmyself) for their renewed availability either. Pristine Audio is \ntherefore all the more to be commended for its intrepid endeavors to \nrestore worthwhile materials to a limited audience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong Mozart’s last six symphonies, the\n Symphony No. 41 is unique in Walter’s discography in two ways: Of the \nlast four, it is the only one of which he made four rather than three \nstudio recordings, and it is the only one of the six for which there is \nno surviving live performance for comparison. This 1945 recording, the \nsecond of the quartet, was dropped from Columbia’s catalog once Walter \nre-waxed the work with the New York Philharmonic in 1956; it did appear \non a long out-of-print CD on the defunct Lys label (LYS 338), along with\n the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Scherzo likewise included in this set. It is also the briskest of the \nfour, being marginally faster than his 1938 account with the Vienna \nPhilharmonic, most notably in the finale. The 1956 version is slower by a\n good half-minute in each movement but the Minuet, and the 1960 stereo \nversion with the Columbia Symphony adds about another half-minute more \nto all four movements. Consequently, this earlier performance (which \nalso sounds as if it may have used a reduced string section), while \nhardly HIP influenced, is more in line with current tastes for leaner, \nmore lithe Mozart and is of not inconsiderable interest. I would still \nrank it behind Walter’s other efforts, however. The New York \nPhilharmonic in 1945 does not have the lovely tonal sheen of the (very \nwell recorded) Vienna Philharmonic, though it outpoints the Europeans in\n the fugal finale; the 1956 performance (my overall first choice) has \nfar better recorded sound and more stylishly crisp and powerful playing;\n while the 1960 studio account, if somewhat slow and beefy by today’s \nstandards, has a stupendous account of the finale that makes it a \nmust-have. This transfer is far superior to the previous Lys issue, \nhaving much greater body and warmth. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was a filler side in the original 78-rpm issue of the “Jupiter”; it \nalso briefly appeared in an extremely rare three-disc 45-rpm set as a \nfiller to Walter’s 1950 recording of Beethoven’s Fifth Symphony. Again, \nthere are three other studio accounts—a 1924 Berlin acoustic, a 1954 \nremake with the New York Philharmonic, and a 1961 stereo version with \nthe Columbia Symphony—plus a live 1954 New York Philharmonic broadcast. \nLeaving aside the sonically outdated acoustic rendition and the (as \nalways) somewhat slower stereo account, the middle three recordings are \ninterpretively almost identical, with the 1954 studio version having the\n edge sonically. But, no matter which recording one chooses of either \nthe symphony or the overture, one is treated to Walter’s uniquely \nwinsome and humane way with Mozart, with its nonpareil combination of \nwarm lyricism, vigorous heft, and good humor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, this is the first \nappearance on CD of this 1955 account of the Schubert Fifth, a work \nWalter recorded in stereo with the West Coast version of the Columbia \nSymphony in 1960, as distinct from this earlier East Coast ensemble \ncomprised mostly of a stripped-down New York Philharmonic. (There is \nalso a live 1940 broadcast with the NBC Symphony in dry, constricted \nStudio 8-H sound.) Walter’s Schubert was of a piece with his Mozart in \nits unapologetic, full-blooded Romanticism that never fell prey to \ndistensions of the melodic line or gauche ritardandos. The two studio \nversions are virtually identical in the first three movements, with the \nstereo version having the edge for its warmer, richer sound; however, \nthe finale of the monaural account is appreciatively faster (5:54 vs. \n6:21), whereas the later stereo version comes off as a bit sluggish. If \nbetween the two the stereo account still gets the nod overall, the \nrestoration of the earlier account is a valuable corrective and \nsupplement to that version that fully warrants its return to the active \ncatalog. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe evergreen\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Kaiserwaltz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Johann Strauss, Jr., my absolute favorite of all his waltzes, was \napparently Walter’s favorite as well, for it is the only Strauss waltz \nof which he made three studio recordings (there are also hat tricks for \nthe Overtures to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Fledermaus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Der Zigeunerbaron\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n supplemented by a 1944 New York Philharmonic broadcast account. This \none-off effort from 1942 was previously issued on a Smithsonian \nCollection CD (RD 103-7 \/ A-24739). If Walter’s final studio version \nfrom 1956 again holds the sonic edge, this is arguably a superior \naccount interpretively, with all the Viennese lilt one could possibly \ndesire. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second disc opens with Walter’s \n1947 recording of the Schubert “Unfinished.” Of the works featured in \nthis set, this has by far the most generous representation in Walter’s \ndiscography: three studio recordings, with the Vienna Philharmonic \n(1936), the Philadelphia Orchestra (1947), and the New York Philharmonic\n (1960), plus live broadcasts with the New York Philharmonic (1942, \n1945, and 1960, the first two circulating privately and the third issued\n on Wing WCD27 in Japan and long out of print), the Bavarian State \nOrchestra (1950, released by Orfeo), the Chicago Symphony (1958, issued \nby that orchestra in a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCollector’s Choice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n edition), and the Vienna Philharmonic (1960, on Music \u0026amp; Arts). The \n1947 rendition released here by Pristine—along with an account of \nBeethoven’s “Pastorale,” one of only two commercial recordings Walter \nmade with the “fabulous Philadelphians”—was issued by Sony, but only in \nFrance (5081742), in a pairing with the Dvořák Eighth Symphony also \nincluded here. As usual, the late performances, postdating Walter’s \nMarch 1957 heart attack, are significantly broader in their tempos—e.g.,\n 10:21 \/ 12:07 vs. 10:57 \/ 13:53 for the two movements of the 1947 and \n1960 studio accounts, respectively. For a balance between interpretive \nand sonic factors, the three most desirable accounts are these two later\n studio versions and the unusually taut (for Walter) 1950 Munich \nperformance. As all three are excellent, and captured in good sound for \ntheir respective dates, a choice between them is largely subjective: The\n Munich account offers incisive drama and the New York one beautifully \nsustained autumnal songfulness, with that from Philadelphia occupying a \nhappy medium. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, the Mendelssohn Scherzo\n is unique to Walter’s studio discography, though a 1948 New York \nPhilharmonic broadcast account has also been released on LP and CD by \nthe NYP and Music \u0026amp; Arts. It was originally a filler side to the \n78-rpm release of the fabled recording of the Mendelssohn Violin \nConcerto that Walter made with Nathan Milstein, which enjoyed the signal\n honor of being the first recording ever to be issued on LP. (In 1998 \nSony issued a special promotional reproduction of that LP on CD: SSK \n5770.) The performance is a delight, and as with the aforementioned \n“Jupiter” Symphony once again this Pristine transfer is far superior to \nits CD predecessor from Lys. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSong of Destiny\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—sung in English, hence that title rather than the original German \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchicksalslied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—is\n a particular Walter rarity for an unusual reason. Originally recorded \non December 15, 1941—with pointed symbolic reference to the attack on \nPearl Harbor eight days before—it was issued on LP (numbered SL 156) as a\n filler to Walter’s first studio recording of the Beethoven Ninth, on \nthe flip side of the disc containing the finale. However, Walter was \ndissatisfied with the finale of the Beethoven, and seized an opportunity\n to rerecord just that movement in 1953. Columbia then offered to \nexchange the new version of the Ninth (numbered SL 186), paired instead \nwith Walter’s 1942 recording of Beethoven’s Eighth Symphony, for free to\n anyone who sent back in his or her copy of the old version, and so \nsignificantly fewer copies of the Brahms have survived as a result. In \nhis NYP discography, fellow \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic James H. North notes a previous ultra-scarce Japanese Sony issue\n (SRCR-8733), of which I can find no other trace, so presumably that is \nlong out of print and this is the only available issue. The \nEnglish-language text is available on Pristine’s web site. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe best is saved for last here, in the\n form of an absolutely crackerjack performance of the Dvořák Eighth \nSymphony. While Walter would go on to record a warmly genial, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemütlich\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n account in stereo in 1961, many listeners may be surprised at this 1947\n performance, which positively bristles with the kind of restless, \nfebrile energy and energetic thrust associated instead with Toscanini. \nMarried as that is to Walter’s trademark lyricism of the singing line \nand robust, full-bodied orchestral palette, the result is a singularly \nstriking and compelling rendition that stays long in the memory. (There \nis also a superlative broadcast account with the New York Philharmonic \ndating from February 1948, two months after this studio recording. \nInterpretively it is perhaps my favorite of Walter’s three renditions; \nit is preserved from acetate discs in tolerable sound, but sonically it \ndoes not compete with either of the two studio versions.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with the Schubert “Unfinished” \ndiscmate that was also on the French Sony issue, restoration engineer \nMark Obert-Thorn has left in more LP surface noise in the Dvořák than \ndid Sony. A choice between the two transfers is a matter of taste; while\n I welcome the quieter background and less prominent treble of the Sony \nrelease, I also find on repeated hearings that Obert-Thorn’s approach \nhas left in more instrumental color, which gives the Schubert in \nparticular a greater sense of drama and animation. Much the same careful\n and intelligent approach has been taken to the other transfers \nthroughout, always to the benefit of the performances. Pristine’s cover \nart for this issue is exceptionally striking and attractive. While the \nprimary appeal of this set may indeed be to committed Walterians, all \ncollectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC452.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA double-CD collection of some of Bruno Walter's rarest recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n collectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended\" - \nFanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eThis collection brings together eight recordings by Bruno \nWalter which have seen scant, if any, availability in the CD era.  All \nstem from studio sessions for US Columbia, and range from among his \nearliest recordings in America (Brahms) to one of his last of the \npre-stereo era (Schubert 5th).  Some have seen limited CD reissue by \nSony in France and Japan (Schubert 8th, Dvořák) or Japan only (Brahms), \nwhile the remainder have never had an “official” CD release.  Two of the\n recordings (Schubert 5th, \u003cem\u003eCosì\u003c\/em\u003e Overture) have apparently never even had an \u003cem\u003eun\u003c\/em\u003eofficial CD release on independent labels.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe reasons for the unavailability of these recordings generally involve remakes in improved sound.  The Mozart \u003cem\u003eJupiter\u003c\/em\u003e and \u003cem\u003eCosì\u003c\/em\u003e\n Overture, both stemming from the same 1945 session, are a case in \npoint.  This was the second of four commercial recordings Walter would \nmake of the symphony; he had previously recorded it with the Vienna \nPhilharmonic, and would go on to remake it with the New York \nPhilharmonic on tape in 1956, and with the (West Coast) Columbia \nSymphony Orchestra in stereo in 1960.  While the latter two have stayed \nintermittently in the catalog, this earlier version was forgotten.  This\n recording of the \u003cem\u003eCosì\u003c\/em\u003e Overture was Walter’s first, but he \nwould go on to remake it in mono with the East Coast CoSO in 1954, then \nwith their West Coast counterpart in stereo in 1960.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSimilarly, the mono 1955 Schubert Fifth with the East Coast \nCoSO, another first Walter recording, was replaced five years later with\n a stereo West Coast version.  The Strauss waltz was one more item which\n Walter had previously recorded in Vienna.  He would go on to remake it \nyet again with the New York CoSO in 1956, and that has been the one \nreissued ever since.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Schubert \u003cem\u003eUnfinished\u003c\/em\u003e is one of only two commercial recordings Walter made with the Philadelphia Orchestra.  (The other, Beethoven’s \u003cem\u003ePastoral\u003c\/em\u003e,\n is available on Pristine PASC 067.)  Another item originally recorded \nin Vienna, it was remade with the New York Philharmonic in stereo in \n1958.  The Mendelssohn Scherzo is the only item on the program which \nonly exists in a single recording.  It was made at the same session as \nthe Mendelssohn Violin Concerto with Milstein and Walter as the set’s \nfiller side.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Brahms \u003cem\u003eSchicksalslied\u003c\/em\u003e, sung here in English, was \nrecorded at Walter’s third session with the Philharmonic held during the\n first year he recorded with them, 1941.  Its dour message (“[W]e have \nbeen fated\/To find no rest here on earth\/They vanish, they falter\/Our \nsuffering brothers”) may have been programmed by Walter in sympathy with\n the innocent victims caught up in the wars raging in Europe and Asia; \nbut it found a new resonance at this session, held eight days after the \nattack on Pearl Harbor.  Walter would remake the work in stereo in Los \nAngeles in 1961.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe final recording was Walter’s first of two versions of the \nDvořák Eighth.  He would go on to remake it in stereo with the West \nCoast CoSO in 1961, but would not eclipse the tremendous vitality of \nthis electrifying version.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eMOZART:  Symphony No. 41 in C major, K.551 ‘Jupiter’\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e           \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34181\/7\u003cbr\u003eFirst issued on Columbia 12070\/3-D in album M-565\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMOZART:  Così fan tutte, K.588 – Overture\u003c\/b\u003e \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34188\u003cbr\u003eFirst issued on Columbia 12073-D in album M-565\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eSCHUBERT:  Symphony No. 5 in B flat, D.485\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 5, 6 \u0026amp; 8 October 1955 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia ML-5156\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eJ. STRAUSS II:  Emperor Waltz, Op. 437\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003eRecorded 18 April 1942 in Liederkranz Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-32733\/4\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 11854-D\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan\u003eSCHUBERT:  Symphony No. 8 in B minor, D.759 ‘Unfinished’\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 2 March 1947 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-37428\/33\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 12639\/41-D in album MM-699\u003c\/span\u003e\n\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMENDELSSOHN:  \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e, Op. 61 – Scherzo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 16 May 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix no.:  XCO-34746\u003cbr\u003e First issued on Columbia 12145-D in album M-577\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBRAHMS:  Song of Destiny (\u003cem\u003eSchicksalslied\u003c\/em\u003e), Op. 54\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003eWestminster Choir\u003c\/span\u003e\u003c\/b\u003e (John Finley Williamson, director)\n\u003cp\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 15 December 1941 in Liederkranz Hall, New York\u003cbr\u003eMatrix nos.:  XCO-32178\/90\u003cbr\u003eFirst issued on Columbia 11801\/2-D in album X-223\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eDVOŘÁK:  Symphony No. 8 in G major, Op. 88\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e Recorded 28 November 1947 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-39465\/72\u003cbr\u003eFirst issued on Columbia 12883\/6-D in album M-770\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eBruno Walter (conductor)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC452.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC452.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fLibretto578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSchicksalslied\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIhr wandelt droben im Licht\u003cbr\u003e \u003cspan\u003eAuf weichem Boden, selige Genien!\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eGlänzende Götterlüfte\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eRühren euch leicht,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie die Finger der Künstlerin\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eHeilige Saiten.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Schicksallos, wie der schlafende\u003cbr\u003e \u003cspan\u003eSäugling, atmen die Himmlischen;\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eKeusch bewahrt\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIn bescheidener Knospe,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlühet ewig\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIhnen der Geist,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eUnd die seligen Augen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlicken in stiller\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEwiger Klarheit.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Doch uns ist gegeben,\u003cbr\u003e \u003cspan\u003eAuf keiner Stätte zu ruhn,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEs schwinden, es fallen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eDie leidenden Menschen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlindlings von einer\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eStunde zur andern,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie Wasser von Klippe\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eZu Klippe geworfen,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eJahr lang ins Ungewisse hinab.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFriedrich Hölderlin\u003c\/b\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":"Mono 16-bit FLAC","offer_id":31976076365,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976076429,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC452_4fc371e8-44d1-49ba-ada0-bae3a4e6e0a6.jpg?v=1487682756"},{"product_id":"pasc469","title":"WALTER Standard Hour: Haydn, Mozart, Wagner, Weber (1954) - PASC469","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eParsifal - Prelude\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEt incarnatus est\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEine Kleine Nachtmusik\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN   \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Seasons - excerpts\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOberon - Overture\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 55:47 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSan Francisco\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again, Pristine has produced a winner; enthusiastically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI think this is the first time I’ve \never been quoted as (in effect) promoting a release before its \npublication! Knowing of my devotion to Bruno Walter, Andrew Rose of \nPristine Audio forwarded to me an advance sound clip for this planned \nissue of a complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eStandard Hour\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n NBC Radio broadcast. I sent an enthusiastic email reply, and lo and \nbehold part of it appeared as a promotional blurb on the release \nannouncement that also is printed on the CD front tray insert card. Not \nthat I’m complaining, mind you; I’m both amused and flattered. For the \nrecord, here it is: “It’s especially welcome because Walter’s live \nperformances of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are much superior to his studio recordings, which with but one \nexception (Vienna 1936) are disappointingly wooden and heavy. This has \nreal life to it!” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnd, yes, I stand behind that statement\n 100 percent. I still have the dim-sounding bootleg Italian CLS LP that \nalso contains this concert—though not for much longer, as this \nsplendidly remastered version from a much superior source makes the \nvinyl version sound positively ludicrous by comparison. The sound \nquality here is that of a good, clear monaural radio broadcast from its \nera. While—as one already knows from Pierre Monteux’s 78-rpm \nrecordings—the San Francisco orchestra at that time was nowhere near as \ntechnically polished an ensemble as it is today, its members are \nobviously responsive to Walter’s baton and play expressively for him. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe program is a mixture of three \nWalter favorites and two novelties. Walter left us six performances of \nthe Parsifal act I Prelude: three studio recordings, from 1925 and 1927 \n(both with the Royal Philharmonic) and 1959 (with the Columbia Symphony \nOrchestra in its West Coast incarnation, and coupled with the act III \nGood Friday Spell music), and three live performances, with the Los \nAngeles Standard Symphony (June 19, 1949), the New York Philharmonic \n(December 28, 1952), and this one from 1954. The New York performance is\n the slowest (14:00), followed by the CSO studio account (12:51); the \n1927 RPO version is the fastest (11:04), with the other three coming in \nat 11:52 (RPO in 1925) and 12:15 (both live California performances). \nCalifornia seemed to hold the magic spell for Walter in this score; the \ntwo early British electrics suffer from dated sound, and the live New \nYork performance (which has only been released in misdated issues on \nolder bootleg Italian CD labels) has not enjoyed a proper remastering \nbut seems to suffer from a bit of stasis rather than timelessness. While\n the 1959 studio recording claims pride of place, both sonically and \ninterpretively, the two live performances from 1949 and 1954 are very \nfine and may appeal more to those who prefer more forward movement in \nthis score. They are of about equal merit, though I subjectively have a \nslight preference for Los Angeles here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn my review of Walter’s 1950 Stockholm\n concerts in 39:5, I provided a table of Walter’s seven \nperformances—four studio efforts and three live ones—of the Mozart \nSerenade and discussed them in some detail there. In that review, not \nknowing of this impending release, I awarded the Stockholm performance \nthe palm in the Walter discography. However, with its refurbished sonics\n this account now arguably takes precedence instead, having both \nsignificantly better recorded sound and just a touch more energy in the \nfinale despite virtually identical timings in all four movements. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture there are four surviving renditions by Walter: a 1931 Berlin \nPhilharmonic performance on film; an NBC Symphony broadcast in very \ntinny Studio 8-H sound from March 18, 1939; a Los Angeles Standard \nSymphony broadcast, again from June 19, 1949; and this one. The timings \nare virtually identical—8:27, 8:36, 8:19, and 8:22 respectively—and, as \nthat suggests, the interpretation remains virtually unchanged over 23 \nyears. Walter was a superb Weber conductor (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n a favorite opera of his, and it is a great pity we do not have a \nsurviving recording of any part of it beyond the Overture from him), and\n his account of this overture fully captures both its ardent Romantic \nlyricism and almost puckish humor. In this instance the present San \nFrancisco account is the clear favorite, with superior sound and more \nexpressive shaping of phrases. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe two novelties are the arias from \nthe Mozart Mass and Haydn oratorio, the latter sung in English rather \nthan German. Information about soprano Brunetta Mazzolini is rather \nscanty: I have not been able to find dates of either birth or death for \nher, but she was presumably born around 1930. A native of Portland, OR, \nshe was trained at the Curtis Institute in Philadelphia and won the \nMetropolitan Opera regional audition for the Northwest in Seattle on \nJanuary 5, 1958; Lotte Lehmann wrote a letter of recommendation on her \nbehalf, but she apparently never made it onto the stage in New York. She\n made her career primarily on the West Coast; online census data records\n I could not fully access indicate that she married and later divorced. \nBy 1954 she was singing under Bruno Walter in San Francisco, and later \nin Chicago, in the Brahms\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e German Requiem \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n Mozart Requiem among other works. (She also sang the Mahler Fourth \nSymphony, though not with Walter, but he surely coached her in the \npart.) Her voice was that of a light soprano, brilliant in texture and \nwell produced (think of Hilde Güden), with fine diction and intonation; \none can see why Walter took her under his wing, and one wishes that more\n of her artistry was preserved. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, then, we have here a fine \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eParsifal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Prelude, the preferred recordings in Walter’s discography of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture and the Mozart Serenade, plus the additions to the conductor’s\n discography on CD of two unique arias with a quite fine soprano \nsoloist, all presented with Pristine’s usual excellence in restoration \nof historical recordings. As usual with this label, the disc comes with \nonly a list of contents and a brief liner note. Once again, Pristine has\n produced a winner; enthusiastically recommended to both fellow \nWalterians and to collectors of historic orchestral broadcasts in \ngeneral. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eNBC Radio’s Standard Hour Broadcast \nNo.1410 preserved a 56-minute performance given by guest conductor Bruno\n Walter and the San Francisco Symphony on 18 April 1954. The broadcast \nis topped and tailed by a preserved introduction and radio close, spoken\n by the announcer John Grover, something that always strikes me as \nenshrining the true atmosphere of the event.\u003cbr\u003e \u003cbr\u003e Given the timing \nconstraints the programme is somewhat bitty, though two substantial \norchestral pieces frame the concert. The first is the Prelude to \nParsifal, a work that was long established as part of his discography. \nThe best-known example, coupled with the Good Friday music, was to come a\n few years later in 1959 when he directed the Columbia Symphony. Other \nperformances though have survived, not least in New York in 1952 and \nwith the Los Angeles Standard Symphony in 1949, which was revived by \nMusic \u0026amp; Arts. Two of the more discographically venerable, however, \nand these are of particular interest to Walterites, are the London 78s \nmade in 1925 and 1927, when he directed the orchestra of the Royal \nPhilharmonic Society. This San Francisco reading – which was released on\n LP (CLSRPOL2031) – is moulded with distinguished lyricism and control. \nThough powerful in impression, it’s kept moving phrasally and with \nacutely judged rubati. Timings are deceptive here; post-performance \nspeech bloats the track listing – Walter actually takes it in 12:20.\u003cbr\u003e \u003cbr\u003e\n The other larger work is the piece with which he ends the performance, \nthe overture to Oberon, which is also on the LP noted, as well as having\n been released on AS Disc. Verdant and full of brio it takes an honoured\n place alongside his earlier recordings with the NBC and LAPO. Soprano \nBrunetta Mazzolini was clearly a local favourite and had appeared on \nStandard Hour broadcasts before: at the time of this one she was on the \nstaff at Portland. Importantly, Walter left behind no studio recordings \nof Mozart’s Mass in C minor, so this is a tantalising glimpse of the \u003cem\u003eEt Incarnatus est\u003c\/em\u003e.\n Mazzolini has a fine technique, and her voice is bright and relatively \nlight. Again Walter didn’t conduct Haydn’s The Seasons in the studio so \nonce again Mazzolini’s singing of two movements is all we have. Once \nmore she evinces fine, focused singing, in English. This too was on the \nnow rare LP noted as well as having been issued on a Japanese Bruno \nWalter Society LP.\u003cbr\u003e \u003cbr\u003e Perhaps surprisingly, and despite these discographical novelties, it’s the most superficially hackneyed of the works, \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e\n that proves the most quietly revelatory. It’s full of the most charming\n subtlety and warmth, and fully ranks alongside his pre-war Vienna \nperformance. There’s not the tiniest hint of routine in this delightful \nreading.\u003cbr\u003e \u003cbr\u003e Whether this will sway you to buy this disc depends on\n the depth of your allegiances to the conductor. The novelties here – \nthough relatively brief - will certainly be tempting to the \ntightly-focused collector.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cem\u003eMusicWeb Internat\u003c\/em\u003e\u003cem\u003eional\u003c\/em\u003e\u003cb\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC469.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1954 live broadcast reveals an amazing Eine Kleine Nachtmusik!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Full\n of the most charming subtlety and warmth, and fully ranks alongside his\n pre-war Vienna performance\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eHaving previously appeared as a guest conductor on NBC Pacific's \nStandard Hour programme, Bruno Walter found himself back on the air on \n18 April 1954 with the San Francisco Symphony Orchestra and guest \nsoprano Brunetta Mazzolini - just four days before conducting the \norchestra (and Mazzolini) in their first ever performance of Brahms' \u003cem\u003eA German Requiem\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eAlthough sections of this concert may have appeared briefly before, I\n understand that the high fidelity sound quality heard on this release \nsets it apart from previous outings by a considerable distance. Here we \npresent the concert in its entirety as broadcast. It also has great \nmusical value, as Fanfare's assistant editor James A. Altena explains: \n\"It's especially welcome because Walter's live performances of \u003cem\u003eEine kleine Nachtmusik\u003c\/em\u003e\n are much superior to his studio recordings, which with but one \nexception (Vienna 1936) are disappointingly wooden and heavy.  This has \nreal life to it!\"\u003c\/p\u003e\u003cp\u003eThe recording benefits from clear, clean and bright sound, with full \nand well-rounded orchestral tone - and a quiet and unobtrusive audience.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Parsifal - Prelude \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Mass in C minor, K.427 - Et incarnatus est\u003cbr\u003e\u003cem\u003e\u003cb\u003eBrunetta Mazzolini, \u003c\/b\u003esoprano\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003e Eine Kleine Nachtmusik, K.525\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHAYDN  \u003c\/b\u003e The Seasons, Hob. XXI:3:\u003cbr\u003eOh welcome now\u003cbr\u003eOh how pleasing to the senses\u003cem\u003e\u003cb\u003e\u003cbr\u003eBrunetta Mazzolini, \u003c\/b\u003esoprano\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWEBER\u003c\/b\u003e Oberon - Overture\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eStandard Hour #1410\u003cbr\u003eBroadcast from the War Memorial \u003cbr\u003eOpera House, San Francisco\u003cbr\u003eon 18 April, 1954\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSan Francisco Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\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\/PASC469.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC469.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":31976080205,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976080269,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976080333,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC469_72a4c6ac-6ec8-4444-a182-3a841a0ee451.jpg?v=1487682759"},{"product_id":"pakm013","title":"WIENER \u0026 DOUCET Mozart: Sonata in D major for Two Pianos (1937) - PAKM013","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSonata in D major for two pianos, K.448\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 16:01\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eJean Wiener \u0026amp; Clément Doucet, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM013.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWiener \u0026amp; Doucet play Mozart's Duet Sonata\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e1937 Pathé recording remastered\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nMozart's only Sonata for Two Pianos, written in 1781, is a fascinating \nwork - not just musically, but also in ways that the composer could \nnever have imagined. Musically it is widely regarded as one of the \ncomposer's finest compositions, described by Alfred Einstein thus:\u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe\n art with which the two parts are made completely equal, the play of the\n dialogue, the delicacy and refinement of the figuration, the feeling \nfor sonority in the combination and exploitation of the registers of the\n two instruments—all these things exhibit such mastery that this \napparently superficial and entertaining work is at the same time one of \nthe most profound and most mature of all Mozart’s compositions.\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003eCertainly\n it does seem to distill into one relatively short piece almost all that\n is perfect Mozart, and it was perhaps with this in mind that the piece \ntook on a new life in 1993 with the publication in the scientific \njournal Nature of an article by Rauscher, Shaw and Ky entitled \"Music \nand spatial task performance\".\u003cbr\u003e\u003cbr\u003eIf one takes their research and \ndistils it down to the level of your average tabloid newspaper headline \nwriter, they claimed that listening to Mozart boosts your IQ. Of course \nthe reality was not quite that - a set of tasks, which included pattern \nanalysis and paper folding and cutting, were found to be performed \nbetter than after listening to silence or a relaxation tape - to the \nextent that spatial IQ increased by an average of 8-9 points for a few \nminutes after listening to the music. \u003cbr\u003e\u003cbr\u003eThus was an entire \nindustry born, capitalising on the so-called 'Mozart Effect', and that's\n why we're giving away the crucial first movement - so that you can \nlisten to it whenever you need an instant boost to your branepower.\u003cbr\u003e\u003cbr\u003eWiener\n and Doucet were perhaps best known in their day as jazz pianists - but \nhaving come out of the Paris Conservertoire and with close associations \nwith the radical French composers known collectively as Les Six, they \nspent a number of years at the heart of modern musical life in 20's and \n30's Paris. What is particularly wonderful about this recording is a \nspirit of freedom and joy they instill into the music - if there is \nperhaps a certain technical looseness to their delivery it is more than \nmade up for by panache!\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\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\u003eMOZART \u003c\/b\u003eSonata in D major for two pianos, K.448\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded: 7 July, 1937 by Pathé (France)\u003cbr\u003e\u003cbr\u003eReleased in UK as Columbia 78s, DX 842-3\u003cbr\u003eMatrix numbers: XPTX 327-330\u003cbr\u003eTakes: All first take recordings\u003cbr\u003e\u003cbr\u003eDuration 16:01\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJean Wiener \u0026amp; Clément Doucet, \u003c\/b\u003epiano\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\/PAKM013.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM013.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":34051060749,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":34051060813,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM013.jpg?v=1489497684"},{"product_id":"pacm003-cd","title":"ROTH QUARTET Mozart: Quartet No. 18 in A, \"Drum\", K.464 (1935) - PACM003 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":32418107021,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418107149,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM003_a6ee18a4-7363-4614-b626-d4b522ce86a0.jpg?v=1657087237"},{"product_id":"pacm012-cd","title":"KELL Mozart: Clarinet Quintet (1945) - PACM012 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":32418131533,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418131661,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM012_a5efe0a0-1241-4577-a566-00010f573b90.jpg?v=1657087288"},{"product_id":"pacm017-cd","title":"PRISCA QUARTET Mozart: Quartet No. 16 (1935) - PACM017 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":32418145293,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418145357,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM017_ea3c2628-53eb-46d2-bcc6-35596a895d0e.jpg?v=1657120312"},{"product_id":"pacm032-cd","title":"FOURNIER, JANIGRO \u0026 BADURA-SKODA Mozart: Piano Trios, Vol. 1 (1953) - PACM032 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31463600269,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31463600333,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM032.jpg?v=1657704235"},{"product_id":"pacm033-cd","title":"FOURNIER, JANIGRO \u0026 BADURA-SKODA Mozart: Piano Trios, Vol. 2 (1953) - PACM033 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31463600461,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31463600525,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM033_4d394a85-728d-4d81-9a74-e4ebe835df82.jpg?v=1657704238"},{"product_id":"pacm077-cd","title":"ITALIAN QUARTET Haydn \u0026 Mozart String Quartets (1948\/52) - PACM077 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976269069,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976269133,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM077.jpg?v=1658480370"},{"product_id":"pacm098-cd","title":"BUDAPEST QUARTET Early Recordings (1926-29) - PACM098 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CDs with case \u0026 artwork (+MP3)","offer_id":2913850589210,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CDs only in plastic sleeve (+MP3)","offer_id":2913850621978,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM098_703a475b-e559-485e-9980-2f904737c8b7.jpg?v=1658480921"},{"product_id":"pasc400-cd","title":"FRICSAY Beethoven: Piano Concerto No. 3, Triple Concerto (1957-60) - PASC400 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC400.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976332685,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976332749,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC400_a77dc00b-84b6-46f5-ba83-9bd2db9c617c.jpg?v=1658742051"},{"product_id":"pasc409-cd","title":"BEECHAM conducts Mozart, Volume 1 (1915-54) - PASC409 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40477970381,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40477970509,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC409_197aa3d7-36bf-4887-9df4-95ed6b5ca161.jpg?v=1658742032"},{"product_id":"pasc413-cd","title":"BEECHAM conducts Mozart, Volume 2 (1950\/55) - PASC413 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40477972301,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40477972429,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC413_f5e6c1e9-640f-4137-b307-43d286834780.jpg?v=1658742142"},{"product_id":"pasc415-cd","title":"BEECHAM conducts Mozart, Volume 3 (1912-58) - PASC415 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40477975437,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40477975501,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC415_24899bc8-3ebd-4c78-806f-28f26969e24c.jpg?v=1658742173"},{"product_id":"pasc448-cd","title":"MUNCH The Complete New York Philharmonic Recordings (1947\/48) - PASC448 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":29977296142397,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":29977296175165,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC448_3ab84089-6e31-4f5c-b6c5-1f73341a17c8.jpg?v=1658742883"},{"product_id":"pasc452-cd","title":"WALTER Rarities: American Columbia Recordings (1941-55) - PASC452 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":31976454989,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976455053,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC452_58f6868b-d5e3-4bf8-bc72-af58bc2e6bc4.jpg?v=1658742984"},{"product_id":"pasc455-cd","title":"COATES Mozart: Symphony No. 41; Beethoven: Symphony No. 3 (1926-27) - PASC455 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976455565,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976455629,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC455_1778e597-1516-4fe2-9fd8-f9faac3d3ad9.jpg?v=1658743047"},{"product_id":"pasc467-cd","title":"KLEMPERER in Philadelphia, Vol. 2: Mozart, Beethoven, Schumann (1962) - PASC467 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":31976487373,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976487437,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC467_deeef148-48bd-4e47-8f7a-d7f362663f0e.jpg?v=1658743306"},{"product_id":"pasc469-cd","title":"WALTER Standard Hour: Haydn, Mozart, Wagner, Weber (1954) - PASC469 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976496269,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976496333,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC469_08fe359b-e6cb-4fc2-8535-44835b7a320e.jpg?v=1658743341"},{"product_id":"pasc470-cd","title":"BEECHAM The ABC Blue Network Concerts, Volume 2 (1945) - PASC470 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976497229,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976497293,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC470.jpg?v=1658743501"},{"product_id":"pasc477-cd","title":"BEECHAM The ABC Blue Network Concerts, Volume 3 (1945) - PASC477 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976504845,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976504909,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC477_708a1572-6f27-444a-a9d8-52ee082f62d0.jpg?v=1658743636"},{"product_id":"pasc480-cd","title":"BEECHAM The ABC Blue Network Concerts, Volume 4 (1945) - PASC480 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976507149,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976507277,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC480_c0bc8865-3ad0-41a5-b869-f1f04b83a837.jpg?v=1658743729"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/mozart.jpg?v=1496242417","url":"https:\/\/www.pristineclassical.com\/collections\/composer-mozart.oembed?page=21","provider":"Pristine Classical","version":"1.0","type":"link"}