{"title":"Prokofiev","description":"Sergei Sergeyevich Prokofiev (27 April 1891 – 5 March 1953) was a Russian Soviet composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard pieces as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet—from which \"Dance of the Knights\" is taken—and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a symphony-concerto for cello and orchestra, and nine completed piano sonatas.\u003cbr\u003e\u003cbr\u003eA graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915, Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev—Chout, Le pas d'acier and The Prodigal Son—which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.\u003cbr\u003e\u003cbr\u003eAfter the Revolution of 1917, Prokofiev left Russia with the official blessing of the Soviet minister Anatoly Lunacharsky, and resided in the United States, then Germany, then Paris, making his living as a composer, pianist and conductor. During that time, he married a Spanish singer, Carolina (Lina) Codina, with whom he had two sons. In the early 1930s, the Great Depression diminished opportunities for Prokofiev's ballets and operas to be staged in America and western Europe. Prokofiev, who regarded himself as composer foremost, resented the time taken by touring as a pianist, and increasingly turned to the Soviet Union for commissions of new music; in 1936, he finally returned to his homeland with his family. He enjoyed some success there – notably with Lieutenant Kijé, Peter and the Wolf, Romeo and Juliet, and perhaps above all with Alexander Nevsky.\u003cbr\u003e\u003cbr\u003eThe Nazi invasion of the USSR spurred him to compose his most ambitious work, an operatic version of Leo Tolstoy's War and Peace. In 1948, Prokofiev was attacked for producing \"anti-democratic formalism.\" Nevertheless, he enjoyed personal and artistic support from a new generation of Russian performers, notably Sviatoslav Richter and Mstislav Rostropovich: he wrote his ninth piano sonata for the former and his Symphony-Concerto for the latter.","products":[{"product_id":"paco051","title":"LESKOVIC Prokofiev: The Love for Three Oranges (1955) - PACO051","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eThe Love for Three Oranges\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recording from 1955\u003cbr\u003eTotal duration: 1hr 48:41\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: 14px;\"\u003eSlovenian National Opera, Ljubljana\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: 14px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: 14px;\"\u003e Bogo Leskovich \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003cp data_liveedit_tagid=\"000000000D775CA0\" style=\"padding-left: 30px;\"\u003e \u003cspan class=\"body\"\u003e\u003c\/span\u003e\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO051.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe première recording of Prokofiev's best-loved opera\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eOne of only four Russian-language recordings - new XR-remastered transfer\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003eThis is one of two rare Russian opera recordings by the Slovenian National\u003c\/span\u003e\n Opera which came my way from the collection of the former art director \nof Philips UK. It was sold as a boxed set of two LPs, and given the \nslightly alternative title of The Love OF Three Oranges (as opposed to \nthe now more common \"...FOR Three Oranges\").\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe discs were in immaculate condition, suggesting \nlittle or no play, and transfer was straightforward. Despite being very \nwell recorded for their day and origin, I noticed a lightness in the \nbass and some roll-off at the top end, both of which contrived to make \nthe sound rather thin . This is a reasonably straightforward task to fix\n using XR remastering, and the finished result is clean, clear, bright \nand with at times quite exceptional depth.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs the notes below explain, \u003cem\u003eThe Love for Three Oranges\u003c\/em\u003e\n received a poor reception in the USA when first premièred in 1921. A \nrevival there in the late 1940s however was wildly successful and the \nopera has entered the standard repertoire of many opera companies since.\n However this world première recording is particularly fascinating both \nfor being given in the composers native language, and for being for many\n a particularly unfamiliar work at the time. Whilst the performers may \ntoday be unfamiliar to many, it stands as an excellent example of \nperformance practice at the time, as well as being a superb recording it\n its own right, and was duly very well received upon its release, as \nthis excerpt from a review in the January 1957 issue of The Gramophone \nindicates:\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eThis is the performance by the Ljubljana \nOpera which was such a success at the Holland Festival last year, and \nlater in Paris. No wonder it was ! There is a galaxy of excellent voices\n in the large cast— some young, some mature—and they deliver the music, \nwhich is not at all easy to sing, with assurance, accuracy and, where it\n is appropriate, expression. The conducting and the playing of the \norchestra are excellent. In every way this vivid performance represents a\n higher level of achievement than the flawed, though often very \nenjoyable, recordings of Russian operas which Decca have made in \nBelgrade. It should have a great success now among record buyers.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003e\u003c\/span\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003ePROKOFIEV \u003c\/b\u003e- The Love for Three Oranges. Op. 33\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eCast\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e le Roi de Trèfle - \u003cb\u003eLatko Koroshetz\u003c\/b\u003e\u003cbr\u003e le Prince - \u003cb\u003eJanec Lipusek\u003c\/b\u003e\u003cbr\u003e la Princesse Clarice - \u003cb\u003eBogdana Stritar\u003c\/b\u003e\u003cbr\u003e Léandre - \u003cb\u003eDanilo Merlak\u003c\/b\u003e\u003cbr\u003e Truffaldino - \u003cb\u003eDrago Chuden\u003c\/b\u003e\u003cbr\u003e Tchélio - \u003cb\u003eZdravko Kovac\u003c\/b\u003e\u003cbr\u003e Fata Morgana - \u003cb\u003eVanda Guerlovich\u003c\/b\u003e\u003cbr\u003e Linette - \u003cb\u003eVanda Zikherl\u003c\/b\u003e\u003cbr\u003e Nicolette - \u003cb\u003eBogena Glavak\u003c\/b\u003e\u003cbr\u003e Ninette - \u003cb\u003eSonja Kochevar\u003c\/b\u003e\u003cbr\u003e la Cusinière -\u003cb\u003e Friderik Lupsha\u003c\/b\u003e\u003cbr\u003e Farfarello - \u003cb\u003eVladimir Dolnichar\u003c\/b\u003e\u003cbr\u003e Sméraldine -\u003cb\u003e Elza Karlovatz\u003c\/b\u003e\u003cbr\u003e le Maitre de Cérémonies - \u003cb\u003eSlavko Shtrukel\u003c\/b\u003e\u003cbr\u003e le Hérault - \u003cb\u003eSimeon Tzar\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cb\u003e Slovenian National Opera Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003e conducted by \u003cb\u003eBogo Leskovich\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\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eWorld première recording, 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Issued as Philips A 00331-00332 L {2LPS} (1956); Philips ABL 3150-3151 {2LPS} (UK) (1956); Epic 4SC-6012 {2LPS} (USA) (1956)\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTransfer from Philips ABL.3150\/51\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, September 2010\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on a photograph of Prokofiev\u003c\/span\u003e\u003c\/span\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\/PACO051.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO051.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":33978000909,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33978000973,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33978001037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":33978001101,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO051_d50709b2-4851-4e7c-a358-531bf559403c.jpg?v=1489393152"},{"product_id":"pasc405","title":"RICHTER Six Russian Piano Concertos (1950-59) - PASC405","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTchaikovsky \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003cb\u003eRimsky-Korsakoff\u003c\/b\u003e Piano Concerto\u003cbr\u003e\u003cb\u003eRachmaninov \u003c\/b\u003ePiano Concerto \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003eNo. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRachmaninov \u003c\/b\u003ePiano Concertos \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003eNo. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003eProkofiev \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003cb\u003eGlazunov \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio Recordings · 1950-59\u003cbr\u003eTotal duration: 2hr 33:34 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003eSviatoslav Richter, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eLeningrad Philharmonic Orchestra\u003cbr\u003eMoscow Philharmonic Orchestra\u003cbr\u003eMoscow Youth Orchestra\u003cbr\u003eUSSR Radio \u0026amp; TV Large Symphony Orchestra\u003cbr\u003eYevgeny Mravinsky - Kirill Kondrashin - Kurt Sanderling, \u003c\/b\u003econductors \u003cbr\u003e\u003cbr\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine’s remastering is such that no matter what earlier version you have, replacement is justified.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCollectors have long known these \nperformances, which have been available over many years on many \ndifferent labels. In all cases, even BMG’s Melodiya series, the sound \nwas cramped at best, distorted at worst. It was those Melodiya and \nAriola-Eurodisc German pressings that Andrew Rose used as his source, \nbut there is no comparison between those sources and what he has \naccomplished. The sound here is superior, significantly so, in every \nway: orchestral color, dynamic range, piano tone, balance, quietness, \nabsence of wow and flutter, clarity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll of these performances are \nspectacular and should be in any serious piano collection. All were \nmonaural originals from the 1950s, and I have heard Pristine’s transfers\n in their XR stereo version, which is not like the old reprocessed \nstereo of the record industry, but rather a sonic approach that gives us\n a sense of the space of a concert hall without the fake left-right \ndivision. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRichter recorded the Tchaikovsky \nConcerto again, but in my view he never equaled this. Part of the reason\n is the incredibly alert conducting of Mravinsky and deeply committed \nplaying of the Leningrad Philharmonic. But Richter himself seems \ninspired well beyond the level he demonstrated on his rather \nheavy-handed DG recording with Karajan, where you had the feeling that \neveryone involved thought that they were making an important document, \nresulting in a static monument instead of a living performance. The \ncontrasts between the lyrical and the virtuosic are astonishing in this \nperformance. Richter takes off with reckless abandon in, for instance, \nthe central section of the second movement, but he lingers lovingly over\n the poetic passages. And he and Mravinsky hold everything together with\n completely natural gear shifts. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI won’t take excessive \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003espace\n detailing all of these performances. Suffice it to say that Richter’s \nunique blend of a brilliant technique that could do anything he wanted \nand a rare musical insight that led him well beyond mere virtuosity \nmakes each of these performances unique. It is worth noting that the \nRimsky-Korsakov and Glazunov, while not unrecorded, cannot boast \ncompeting recordings on this level of performance. Throughout Richter \nsurprises with the very unusual combination of technical prowess and \ndeep musical insights. Even Prokofiev’s First Concerto, normally simply \nplayed as an athletic display, is given some genuine poetry and careful \nattention to dynamic gradations. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRachmaninoff’s Second Concerto is a gem\n of a performance, though it is probably the most troubling recording \nfrom a sonic viewpoint. There is a degree of distortion and congestion \npresent to a stronger degree than the others, and Richter’s piano tone \nlacks richness. Nonetheless the performance is so focused and \nintelligently thought out (without ever seeming studied or mannered) \nthat one finds oneself respecting this old chestnut anew. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eregular\n readers know that I don’t believe in the concept of a “best” recording \nof any oft-recorded work; music is too complex an art form to rank \nperformances as if they were sports league outcomes. But I can say that \nevery performance in this set is well above the ordinary, and is \nreflective of one of the great pianists of the 20th century at his very \nbest. In addition, with Mravinsky, Kondrashin, and Sanderling he has \nsome of the finest conductors of that era on the podium. In all cases \nyou sense a genuine musical interaction between Richter and his \nconductors. There are occasional moments of orchestral scrappiness, \nparticularly where the Moscow Youth Orchestra is playing. But those same\n youths play with a degree of passion and involvement that is inspiring.\n Pristine’s remastering is such that no matter what earlier version you \nhave, replacement is justified. \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 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC405.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSix brilliant Russian concertos - Richter at his best in the studios of Soviet Russia\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Richter's playing is magnificent ... I wouldn't want to be without this recording\" - Fanfare, 1990 \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese recordings were all made by Melodiya for LP (and, presumeably \nin the case of the earliest, 78rpm) issue in the USSR in the 1950s, at a\n time when Richter was just about unknown in the West. They include a \nnumber of works for which these are his sole recordings - perhaps most \nnotably the first Rachmaninov concerto - as well as in the case of the \nTchaikovsky, possibly his finest recorded interpretation of this major \nwork.\u003c\/p\u003e\u003cp\u003eThe sources for these transfers were all near-mint German reissues \nmade in collaboration between Ariola-Eurodisc and Melodiya some years \nlater, and benefit from far superior vinyl pressings than were available\n in the original Soviet issues. Even so, the original recordings were \nnot perfect, and I've had to deal with a certain amount of peak \ndistortion and wow and flutter throughout most of the series.\u003c\/p\u003e\u003cp\u003eWhat I have also been able to recover in these XR remasters has been \nfar superior overall sound quality than was apparent in any of the \noriginal recordings. Whilst this is especially true in the later issues,\n even the very earliest, 1950 recordings have also shown significant \nimprovements.\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\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003ePiano Concerto No. 1 in B flat, Op. 23 \u003cbr\u003eLeningrad Philharmonic Orchestra - Yevgeny Mravinsky\u003cbr\u003eRecorded 28 July, 1958 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003ePiano Concerto in C sharp minor, Op. 30\u003cbr\u003eMoscow Youth Orchestra - Kirill Kondrashin\u003cbr\u003eRecorded 17 February, 1950 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003e Piano Concerto No. 1 in F sharp minor, Op. 1\u003cbr\u003eUSSR Radio \u0026amp; TV Large Symphony Orchestra - Kurt Sanderling\u003cbr\u003eRecorded 18 February, 1955 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eRACHMANINOV  \u003c\/b\u003ePiano Concerto No. 2 in C minor, Op. 19\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eLeningrad Philharmonic Orchestra - Kurt Sanderling\u003cbr\u003eRecorded 18 February, 1959 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003ePROKOFIEV \u003c\/b\u003e Piano Concerto No. 1 in D flat major, Op. 10\u003cbr\u003eMoscow Youth Orchestra - Kirill Kondrashin\u003cbr\u003eRecorded 1952 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003e Piano Concerto No. 1 in F minor, Op. 92\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eMoscow Youth Orchestra    Kirill Kondrashin\u003cbr\u003eRecorded 14 December, 1952\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eSviatoslav Richter\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eTransfer from Melodiya - Ariola-Eurodisc 89 831 XGK\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\/PASC405.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC405.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":90080739354,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":90080772122,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":90080804890,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":90080837658,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC405_3d144856-3f9e-4eb3-96e2-77cb04cc5b50.jpg?v=1710338177"},{"product_id":"pasc424","title":"ROZHDESTVENSKY Prokofiev: Romeo and Juliet (1959) - PASC424","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePROKOFIEV  \u003c\/b\u003eRomeo and Juliet, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded Moscow, 1959\u003cbr\u003eTotal duration: 2hr 22:39 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSymphonic Orchestra of the State Academic Bolshoi Theater\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eGennady Rozhdestvensky, \u003c\/b\u003econductor\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\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e \u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA miracle in sonic restoration578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn 1959, the Moscow Bolshoi Theater \nOrchestra and Gennady Rozhdestvensky made a Melodiya studio recording of\n the complete score of Prokofiev’s ballet \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This Pristine Audio release offers a new remastering of that recording.\n It’s not surprising that the Bolshoi played a significant role in the \ncreation of one of the greatest Russian ballet scores. But that role, at\n least initially, was far from constructive. After Prokofiev’s contract \nwith the Kirov Theater to create a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eballet\n fell through, the composer reached an agreement with the Bolshoi to \nstage the premiere toward the close of 1935. But according to Prokofiev,\n “the Bolshoi Theater declared (the ballet) impossible to dance to and \nthe contract was broken.” Prokofiev’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003epremiered\n at the Brno Opera in Czechoslovakia in December of 1938. The first \nRussian performance finally took place at the Kirov in January of 1940, \nchoreographed by Leonid Lavrovsky, with the legendary ballerina Galina \nUlanova as Juliet. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Bolshoi staged its first performance of Prokofiev’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in December of 1946. Ulanova again was Juliet, a role she reprised on \nfilm with the Bolshoi in 1955, with Rozhdestvensky conducting. In 1956, \nUlanova and the Bolshoi stunned London audiences with performances of \nProkofiev’s Shakespeare ballet. By the time of the 1959 Melodiya studio \nrecording, the musicians had lived with this magnificent score for more \nthan a decade, performing it in the context of fully-staged productions \nthat demanded precise coordination between orchestra pit and stage. I \nmention this background not only because it relates to the historic \nvalue of this recording. I also think the Bolshoi Theater Orchestra and \nRozhdestvensky’s familiarity with the score in the context of theatrical\n performances shines throughout the Melodiya recording. To be sure, \nProkofiev’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a great symphonic score, magnificently orchestrated, with brilliant \nmanipulation of various musical leitmotifs. As such it is a wonderful \nshowcase for a virtuoso conductor and orchestra, as Lorin Maazel and the\n Cleveland Orchestra demonstrated in their brilliant early 1970s \nLondon\/Decca recording. But the 1959 Melodiya recording, as much as any \nof the complete score I’ve heard, radiates the atmosphere of the \ntheater, capturing the narrative sweep of Prokofiev’s music, and \nShakespeare’s immortal tale. It’s also clear that Rozhdestvensky and the\n Bolshoi Theater Orchestra musicians have this score in their blood, and\n adore Prokofiev’s music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBut while the Melodiya recording is a \npriceless historic document, it has to date been hampered by poor sound.\n Despite being recorded in 1959, it is monophonic, with dim, \nconstricted, harsh sonics. A comparison of the Melodiya CD issue with \nthe new Pristine Audio release demonstrates that Andrew Rose has \nachieved a miracle in sonic restoration. The sound on the Pristine Audio\n release is warm and with admirable detail. Pristine Audio’s Ambient \nStereo process gives the monophonic soundstage a sense of depth and \nspaciousness that make it fully competitive with recordings of that \nperiod. In the past, compromised sonics may well have been sufficient \ncause to avoid the Melodiya \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Andrew Rose and Pristine Audio have removed that barrier, once and for all. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eKen Meltzer\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC424.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRozhdestvensky's magnificent world première complete Romeo and Juliet in beautiful, XR-remastered sound\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Rozhdestvensky\n and the Bolshoi Theater Orchestra musicians have this score in their \nblood, and adore Prokofiev’s music\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eRozhdestvensky's complete 6-LP-sided 1959 Moscow première recording \nof the complete Romeo and Juliet ballet followed a number of outings of \nthe work in its cut-down suites as it started to become more widely \nknown. Reading through the various mentions it has received since then \nin reviews it seems to have retained a high musical reputation (\"The \nmost characterful of them all\" - Gramophone, 2013), despite some \ntechnical shortcomings. Certainly Melodiya pressings were never the \nbest!\u003c\/p\u003e\u003cp\u003eBut rather unusually for an orchestral recording this late in the \n1950s it was made in mono, and had a rather restricted and harsh edge to\n the sound. This I've managed to tame considerably, alongside a more \ngeneral opening out of the sonic palette, something that's particularly \nenjoyable with the extra space on the soundstage offered by the Ambient \nStereo issue of this recording. I've also been able to add a sense of \ndepth and fullness that was lacking in the Melodiya issues.\u003c\/p\u003e\u003cp\u003eFinally I've fixed a curious anomaly found at around the point where \nMercutio dies - a short section of reversed music that appears on all \nMelodiya issues from the LPs onwards that I've managed to source. This \nis the second instance of this I've discovered in Melodiya recordings of\n the era, which seems more than coincidental - though one can only guess\n as to the reasons for it. In this instance a short section of the music\n was actually missing once the reversed section had been corrected - a \nbeat has had to be inserted from another recording to cover this gap, \nthough it shouldn't be noticed by any but the most perceptive listeners.\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\u003cb\u003ePROKOFIEV  \u003c\/b\u003eRomeo and Juliet, Op. 64\u003cbr\u003eRecorded Moscow, 1959\u003cbr\u003eIssued as Melodiya 3LP-set: D.05342-47\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on photographs of Rozhdestvensky and the Casa di Giulietta, Verona\u003cbr\u003eTotal duration: 2hr 22:39 \u003cbr\u003e \n\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cb\u003eSymphonic Orchestra of the State Academic Bolshoi Theater\u003cbr\u003eGennady Rozhdestvensky\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC424.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC424.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":31975893581,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975893645,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975893709,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975893773,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC424.jpg?v=1487682496"},{"product_id":"pasc442","title":"STOKOWSKI CD Premières: Purcell, Tchaikovsky, Wagner (1941-50) - PASC442","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Tannhäuser – Overture and Venusberg Music ∙ Prelude to Act 3; Tristan und Isolde – Prelude and Liebestod (First Release)\u003cbr\u003e\u003cb\u003ePURCELL-STOKOWSKI \u003c\/b\u003e “When I am laid in earth” (Dido and Aeneas)\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Andante cantabile from Symphony No. 5; Dance of the Sugar Plum Fairy from The Nutcracker\u003cbr\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e  Three excerpts from The Love for Three Oranges\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1941-50\u003cbr\u003eTotal duration: 65:02  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eNew York City Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a performance that needs to be heard by any Wagnerite578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs producer and restoration engineer \nMark Obert-Thorn notes in his booklet note, this release takes us one \nstep closer to having every last note recorded by Leopold Stokowski \navailable on CD. (His recording of Panufnik’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUniversal Prayer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n remains at large, and presumably will remain so until 2041, when it \nenters the public domain.) This is excellent news for Stokowski \ncompletists, and good news for his many admirers. For everyone one else \nreading this headnote, they might be taken aback by the grab-bag nature \nof this release, which features an odd assortment of works, some of them\n in incomplete recordings. \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\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpts, recorded in 1945, are accidentally incomplete, one assumes. \nApparently this comes from a two-disc test pressing, and the second disc\n (which would include the second and third sides) was either broken or \nhas not been found. Thus, we get the first half of the Prelude and the \nsecond half of the Liebestod. Stokowski’s music-making is white hot, but\n you have to be fairly dedicated to put up with such bleeding chunks, \nwhich are even more bloody than usual. The excerpt from the second \nmovement of Tchaikovsky’s Fifth (the movement’s second half, roughly) is\n a result of it having been featured in the 1947 film \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnegie Hall\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It was intended more for movie-goers than for serious music lovers (not\n that the two groups can’t intersect).Too bad, because it’s an excellent\n performance, even though it is incomplete. The “Dance of the Sugar Plum\n Fairy” (Walter Hendl on celesta!) seems to have been a “B side” to a \n1949 recording of Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSleigh Ride\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The tempo is luxuriously slow, and the effect is most seductive, \nespecially if you have a venereal sweet tooth. Stokowski’s arrangement \nof Purcell also makes Dido sound hot and bothered; “When I am laid” \nindeed! Obert-Thorn guesses that the cello soloist here, in this \nrecording from 1950, is Leonard Rose. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Prokofiev excerpts were recorded in\n 1941 in New York’s “Cosmopolitan Opera House.” (Really?) The March has \nbeen on CD before, but not the other two movements. “The Prince and the \nPrincess” languish with searing intensity, and so this is another \nworthwhile albeit incomplete find. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI’ve saved the best for last. The excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n date from 1950 and feature the conductor and his musicians at the top \nof their form; even the women’s chorus (unidentified) in the Venusberg \nMusic makes a memorable contribution. Although the music-making has a \nsweeping, theatrical spontaneity, one also senses Stokowski’s brain \nticking away as he deploys one gorgeous effect after another. Unless you\n like Wagner to be boring and sedate, this is a performance that needs \nto be heard by any Wagnerite, perfect of otherwise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn’s transfers probably get \neverything out of the source material that there is to be gotten; they \nsound remarkable for their age. But then again, so did Stokowski. \nScraping the bottom of the barrel? Well, maybe, but what happy \nscrapings!\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRaymond Tuttle\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC442.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous Stokowski recordings unheard for decades\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"They sound remarkable for their age. But then again, so did Stokowski\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eWith the publication this month of a Music \u0026amp; Arts set \ndevoted to all of Stokowski’s recordings with the All-American Youth \nOrchestra and Hollywood Bowl Symphony Orchestra that had not yet been \nreissued on CD, the number of the conductor’s post-acoustic era output \nin that category has been greatly reduced.  The present release brings \ntogether all but one of the remaining such recordings, and adds a first \nrelease.  (The single holdout is Stokowski’s 1970 Unicorn LP of \nPanufnik’s \u003cem\u003eUniversal Prayer\u003c\/em\u003e, which will not enter the public domain until 2041.)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe original labels of most of the items featured here credited\n “Leopold Stokowski and his Symphony Orchestra”, a pickup ensemble with \nwhich the conductor recorded almost exclusively for his RCA sessions \nfrom 1947 through 1953.  It has always been known that during these \nyears, it consisted of members of the New York Philharmonic (which \nrecorded exclusively for rival label Columbia at the time), the NBC \nSymphony, and top New York freelancers.  But what critic and \ndiscographer James H. North brought to light in an article published in \nthe Spring, 2013 issue of the \u003cem\u003eARSC Journal\u003c\/em\u003e was the actual mix of personnel:   Philharmonic members and freelancers far outweighed NBC players in participation.  The \u003cem\u003eTannhäuser\u003c\/em\u003e\n selections which begin our program provide a case in point:  All of the\n players came from the New York Philharmonic except freelance oboist \nRobert Bloom.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eFor all the various arrangements of music from \u003cem\u003eTristan\u003c\/em\u003e\n that Stokowski recorded over his career, it is remarkable that he made \nonly a single published version of the “standard” Prelude and Liebestod,\n and that only in 1973, toward the end of his career.  The previously \nunissued recording presented here was made with the New York City \nSymphony, an ensemble that Stokowski created in 1944.  Only the first \nand last sides of the set survive in test pressings, but they are enough\n to indicate the white-hot intensity of Stokowski’s performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe cello soloist in Stokowski’s deeply-felt Purcell \ntranscription is most likely Leonard Rose, who was listed as the first \nchair at that session.  The foreshortened single movement from the \nTchiakovsky Fifth is a souvenir of the conductor’s appearance in the \n1947 film, \u003cem\u003eCarnegie Hall\u003c\/em\u003e, in which he led this music.  The \nrecording of the “Dance of the Sugar Plum Fairy” which was issued on \nsingle 78 and 45 rpm discs coupled with Mozart’s “Sleigh Ride” has often\n incorrectly been thought to come from Stokowski’s 1950 recording of the\n entire \u003cem\u003eNutcracker\u003c\/em\u003e Suite, but it predates it by a year.  The celesta soloist here is future conductor Walter Hendl.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Prokofiev selections with the NBC Symphony were originally \nrecorded on three separate 12-inch matrices and then were dubbed to two \nsides.  I was lucky to be able to work from undubbed vinyl test \npressings for the “Infernal Scene” and “March”, but had to use the \nsonically-compromised dubbed shellac release for “The Prince and the \nPrincess”.  While the March has appeared on CD previously, it is now \njoined to the other movements to conclude our program of “firsts”.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn (April 2015)\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            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tannhäuser\u003cbr\u003e\u003cbr\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cb\u003eOverture and Venusberg Music                                     \u003c\/b\u003e                                   \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2          \u003cb\u003ePrelude to Act 3*                                                                                                    \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 1 and 15 February 1950 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor LM-1066 and *WDM-1383\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tristan und Isolde\u003c\/p\u003e\u003cp\u003e3          \u003cb\u003ePrelude to Act 1 (beginning)\u003c\/b\u003e                                                                              \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4          \u003cb\u003eLiebestod (conclusion)\u003c\/b\u003e                                                                                       \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 2 March 1945 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  D5-RC-866-2A \u0026amp; 869-1A                            \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Previously unpublished\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e5          \u003cb\u003ePURCELL\u003c\/b\u003e (trans. Stokowski):  \u003cb\u003e“When I am laid in earth\u003c\/b\u003e” from Dido and Aeneas\u003c\/p\u003e\u003cp\u003e            Recorded 8 August 1950 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor LM-1875\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e6          \u003cb\u003eTCHAIKOVSKY:\u003c\/b\u003e  Symphony No. 5 in E minor, Op. 64\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e 2nd Mvt.:  Andante cantabile, con alcuna licenza\u003c\/b\u003e (abridged)                         \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 26 February 1947 in the Lotos Club, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  D7-RC-7330 and 7331\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor 11-9574\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e7          \u003cb\u003eTCHAIKOVSKY:  Dance of the Sugar Plum Fairy\u003c\/b\u003e from The Nutcracker\u003c\/p\u003e\u003cp\u003e            Recorded 2 March 1949 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            Matrix no.:  D9-RB-244\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor 10-1487\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e            \u003cb\u003ePROKOFIEV:  \u003c\/b\u003eThe Love for Three Oranges, Op. 33\u003c\/p\u003e\u003cp\u003e8          \u003cb\u003eInfernal Scene \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e9          \u003cb\u003eThe Prince and the Princess   \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e10      \u003cb\u003e  March    \u003c\/b\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 27 November 1941 in the Cosmopolitan Opera House, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  CS-071264-1, 071266-1R \u0026amp; 071265-1A\u003c\/p\u003e\u003cp\u003e            First issued on Victor 18497\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eTracks 1, 2, 5 – 7: Leopold Stokowski and his Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Tracks 3 - 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Strauss (1950) - PASC208","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eImages: No. 2 - Ibéria\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Danse Macabre \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Don Juan\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded live, 25th March, 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 57:53 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Arturo Toscanini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC208.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eOne of the great Toscanini broadcast concerts of the 1950s\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eIssued for the first time - a real treat for all music-lovers, in superb sound\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis concert recording was sent to me earlier in the year, but it was only very recently that I got around to listening to it properly for the first time - and was immediately blown away by it. In particular, Toscanini's reading of the \u003cem\u003eClassical Symphony\u003c\/em\u003e by Prokofiev came as a revelation to me. It's not a work I have in any other Toscanini reading, but if this live performance is anything to go by it's something I need to investigate immediately!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBut perhaps this recording will suffice. Throughout the concert both conductor and orchestra are on top form, and I've rarely heard Studio 8H sounding as fabulous as it does here. The source recording was fine, if a little boxy and shrill at times, but XR remastering has done more than just cure these - it's really opened out the whole sound of the orchestra, something further enhanced by the Ambient Stereo processing available should you choose these options on CD or FLAC download orders. I'd certainly recommend it!\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003col\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003eIntroduction to concert \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(0:17) - Announcer: Ben Grauer\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePROKOFIEV\u003c\/strong\u003e Symphony No. 1 \"Classical\" in D, Op. 25\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e1st mvt. - \u003cem\u003eAllegro\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (3:37)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e 2nd mvt. - \u003cem\u003eLarghetto\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (3:52)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e 3rd mvt. - \u003cem\u003eGavotte\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (1:34)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e4th mvt. - \u003cem\u003eMolto vivace\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (4:50)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e Images: No. 2 - Ibéria\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e1st mvt. - \u003cem\u003ePar les rues et par les chemins\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (7:05)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e2nd mvt. - \u003cem\u003eLes parfums de la nuit\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (6:34)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e3rd mvt. - \u003cem\u003eLe matin d'un jour de fête\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (4:50)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSaint-Saëns\u003c\/strong\u003e Danse macabre in G minor, Op.40\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (7:33)\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e Don Juan, Op. 20\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (17:41)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eThe NBC Symphony Orchestra\u003cbr\u003e conductor Arturo Toscanini\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eBroadcast from Studio 8H, 25th March 1950\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, December 2009\u003cbr\u003e Cover artwork based on a photograph of Toscanini during his summer tour of 1950\u003cbr\u003e\nTotal duration: 57:53 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC208.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC208.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34452129805,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452129869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452129933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452130061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC208_0612cc78-4fa2-46ac-8192-30c673501d36.jpg?v=1490032335"},{"product_id":"pasc208-cd","title":"TOSCANINI conducts Prokofiev, Debussy, Saint-Saëns, R. Strauss (1950) - PASC208 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork","offer_id":34428353869,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve","offer_id":34428353933,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC208_8dfe7a0c-667c-4591-9d70-69f25863516f.jpg?v=1658243825"},{"product_id":"pasc242","title":"STOKOWSKI Chicago Debut Concerts (1958) - PASC242","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorale Preludes\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSZABELSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eToccata\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSHOSTAKOVICH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePrelude in E flat minor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRomeo and Juliet Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSwan Lake Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 2 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGLIERE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 3 \u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 2hr 37:58\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eChicago Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eUnfortunately, I was on Christmas vacation from \ncollege when Leopold Stokowski, at age 75, made his first appearance \nwith the Chicago Symphony Orchestra (he remarked that they must have \nbeen waiting for him to reach maturity). By the following week, I was \nback in town and did hear the Friday matinee concert on January 10. The \nconcerts must have been considered a success because Stokowski kept \nreturning in subsequent seasons and even made some studio recordings \nwith the orchestra. Sadly, only one season of the Fritz Reiner era was \ntaped, that of 1957–58, and it was done by a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew York \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eradio\n station (WBAI) that was operating on a very limited budget. WBAI’s \nengineer\/producer would fly to Chicago, tape the Thursday evening \nconcert, and then head back to New York the next day. I would guess that\n the concerts were broadcast on Saturday night in New York, but it’s \nbeen a long time. One night, Reiner, who must have been pleased that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esomeone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n broadcasting his concerts, offered WBAI’s man a lift back to his hotel.\n Not wanting to reveal what a low-budget enterprise he was involved in, \nthe WBAI producer asked Reiner to drop him at the posh Palmer House. He \nentered the lobby, waited about five minutes, and when the coast was \nclear, exited and headed for the local YMCA where he was actually \nstaying! Fortunately, the orchestra and now Pristine Audio have been \nable to use copies of the WBAI tapes to, at least, preserve one Reiner \nseason in respectable sound (the CSO also did regular TV appearances, \nbut those kinescope recordings are sonically compromised).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut back to Stokowski. No one’s Bach \ntranscriptions throb quite like Stokowski’s, especially if he was \nconducting them. These four are Stokowski standards and he and the \norchestra deliver the goods. They are effective even though they are a \nhalf-tone flat and, while I’m on the subject, the Shostakovich Prelude \nin E♭-Minor, orchestrated in a very Shostakovich-like way, plays back in\n D Minor. As far as I can tell, nothing else on either CD is below \npitch.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Polish composer Boleslaw Szabelski lived from \n1896 to 1979. After late-Romantic beginnings, he began to compose atonal\n music during the 1950s. He was a student of Karol Szymanowski and was a\n teacher of the late Henryk Górecki. The Toccata, a busy 1938 showpiece \nfor orchestra, predates his switch to atonality. Did Stokowski ever \nconduct it again?  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sheer warmth of the Prokofiev excerpts inspire\n wishes that he had recorded the complete score (but please, no cuts!). \nHe recorded some selections with the NBC Symphony Orchestra in 1954. \nUnfortunately, all he did was “Romeo and Juliet,” “Romeo at the Tomb of \nJuliet,” which are included here, and three others. He recorded excerpts\n from acts II and III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSwan Lake \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n “his” symphony orchestra, brilliantly played but somewhat streamlined \nprobably to squeeze as much music onto the LP as possible. As for the \nChicago performance, I wish I could hear the entire ballet performed \nwith such suppleness and warmth, and the playing is as good as you might\n imagine. For some reason, the Hungarian Dance is labeled “Danse Russe.”\n  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe two symphonies take up the second CD. With \nrespect to the Brahms, I haven’t heard Stokowski’s late-career recording\n with the National Philharmonic but I do have the early Philadelphia \nOrchestra version on hand. Aside from Chicago’s being a shade faster and\n little more “punctuated” for emphasis, the Chicago and Philadelphia \nperformances are similar. They are pretty much mainstream readings. As \nexpected, the Chicago taping is more detailed and has louder brass \nplaying. Compared with the Philadelphia recording, there’s little use of\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eportamento\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The CSO really digs into the last movement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSometime during the first season of Philadelphia’s\n Kimmel Center, I decided to test the acoustics of Verizon Hall, the \nPhiladelphia Orchestra’s new home. I thought that Glière’s “Ilya \nMurometz” Symphony would be a decent test piece and Neeme Järvi was \nscheduled to conduct it. I had already heard Stokowski conduct it twice,\n once in Chicago and once in New York, but for some people, including \nme, the “Ilya Murometz” is one of life’s guilty pleasures so I decided \nto take in a Friday matinee so I could return home after the concert. \nThe concert was to open with Thomas Zehetmeier playing Mozart’s Violin \nConcerto No. 4. As two o’clock approached, there was a lot if milling \naround on stage, with players coming and going and the audience getting \nrestless. Finally, after about 15 minutes, someone came out on stage and\n gave one of those “due to circumstances beyond our control” \nannouncements to the effect that the Mozart would not be performed and, \nsince the Glière symphony required a much larger orchestra, some of the \nplayers had not arrived yet. I assured a woman sitting next to me that, \nsince the uncut Glière Third is longer than some Bruckner and Mahler \nsymphonies, we would still come close to getting our money’s worth. \nFinally, all the players showed up and Neeme Järvi came on stage and led\n what I thought was a restrained performance of the symphony (he was \nrecovering from a heart attack), and I thought the sound of the hall too\n dry for my taste, if not as dry as that of the Academy of Music. At the\n time, the place was still a work in progress and I don’t know what it \nsounds like nowadays. As for Zehetmeier, he later explained that he \ndidn’t realize that the Friday concert was a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ematinee\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e until it was too late!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski said that, early in his Philadelphia \ncareer, he had the opportunity to discuss the symphony with Glière and \nthe composer (supposedly) agreed that his symphony could be performed \nwith certain cuts. He also met Glière when he visited the Soviet Union \nin 1931. In 1940 he recorded the symphony with the Philadelphia \nOrchestra. A complete, uncut “Ilya Murometz” runs between, say, 75 and \n78 minutes. Stokowski’s 1940 recording runs 46 minutes. It’s hard to \nbelieve that the cuts were all Glière’s idea. In later years, Stokowski \nfavored a more heavily cut edition that runs 38 minutes on his recording\n with the Houston Symphony Orchestra and about a minute longer on this \nChicago broadcast. One addition to the shorter edition is that, whereas \nthe Philadelphia recording fades out quietly, on the Houston and Chicago\n recordings, he uses Glière’s solemn, louder ending, which applies a \nmore decisive period to the piece. Each conductor who has cut the piece \nfor a recording has done his own cuts. In ascending order of \ncompleteness, the ones I’ve heard are the two later Stokowskis, the \nRachmilovich, Stokowski\/Philadelphia, Fricsay, the two Ormandys, Talmi, \nRakhlin, and the uncut ones of Botstein, Downes, Johanos, Scherchen, and\n Farberman—that last one, thanks to some sight-reading tempos, \nstretching out beyond 90 minutes; he conducts as if he relishes every \nnote in the score. Now there’s a spread: 38 minutes to 92 minutes! What \nyou won’t get on Stokowski’s Chicago performance are the high \nfrequencies; what you won’t get on the Houston performance is the sheer \nmassive power of the Chicago brasses and some interesting wind details. \nOn the Houston recording, you can hear Stokowski’s eccentric placement \nof the orchestra, with all the winds and brass on stage left and the \nviolins, violas, and cellos taking up most of what space remains, with \nthe basses lining the back of the stage. You won’t hear that on the CSO \nperformance, which is a mono recording. Both, like his 1940 effort in \nPhiladelphia, are animated, intense performances. I suppose an uncut \nStokowski “Ilya Murometz” was too much to hope for.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eObviously, this pair of CDs preserves two \nimportant concerts in the CSO’s history—the first guest appearances by \none of the 20th century’s most import maestros. Stokowski recorded most \nof this music earlier and\/or later, but there seems to have been good \nchemistry between him and the CSO—several of the players were alumni of \nhis All-American Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStoki's Chicago debut - just 53 years into his professional career!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFirst release of two packed CDs-worth of quintissential Stokowski\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eLeopold Stokowski had for several decades been one of the world's most well-known and respected conductors when, on 2nd January 1958, he stepped onto the podium at Chicago's Orchestra Hall to conduct the Chicago Symphony Orchestra for the first time as its guest conductor. Between 1958 and 1968 he was to appear with the orchestra in six seasons of concerts; this release brings out for the first time what has been preserved from his debut concerts at the beginning of 1958.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recordings presented here are not, it would appear, actual live broadcasts from Chicago, but were taken from rebroadcasts shortly later from a New York radio station - despite the announcer's assertions that they are live in Orchestra Hall, these were probably voice-overs from the New York radio studio. The rebroadcasts omitted music by Wagner which had formed the bulk of the second part of the first concert, following the \u003cem\u003eToccata\u003c\/em\u003e of the little-known Polish composer, Boleslaw Szabelski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first half of that opening concert (which was repeated on 3rd January) consisted of traditional fare - Stokowski's orchestrations of Bach's \u003cem\u003eChorale Preludes\u003c\/em\u003e and the Brahms symphony. The second programme, again repeated over two concerts, was an all-Russian affair, beginning with the Shostakovich and Glière and continuing after the interval with the Prokofiev and Tchaikovsky suites.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs usual, the orchestra and audience got full value for money from Stokowski. In addition to his own orchestrations of the Bach, he was also responsible for the orchestration of Shostakovich's \u003cem\u003ePrelude in E flat minor\u003c\/em\u003e very shortly after its composition. The composer himself later orchestrated the piece for a 1944 film entitled \u003cem\u003eZoya\u003c\/em\u003e, a name which has stuck to a degree to the prelude - however it is, of course, the conductor's orchestration we hear in this concert.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe selections from Prokofiev's \u003cem\u003eRomeo and Juliet\u003c\/em\u003e are somewhat skirted over by the announcer, as in fact they derive not from a single suite but from both the first and second suites. Meanwhile Stokowski has again gone his own way with his \u003cem\u003eSwan Lake Suite\u003c\/em\u003e, which does not correspond to the published suite. Indeed it took a certain amount of musical detective work to identify precisely which parts of Tchaikovsky's music had been used for some of the sections presented here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, it has been suggested that without Stokowski's efforts, Glière's mighty \u003cem\u003e3rd Symphony\u003c\/em\u003e may well have been entirely forgotten. The full work runs to a sprawling 75 minutes or longer - by skilful editing, Stokowski reduced it to something more manageable and digestible and was thus able to programme it on several occasions and thus keep it alive.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eTechnically the sound quality of the recordings here is generally quite good to excellent, although there are some uneven areas. I have had to play with the running orders in order to fit all of the surviving material onto two discs, and have corrected an error by the announcer, who mistakenly introduced Prokofiev's \u003cem\u003eRomeo and Juliet \u003c\/em\u003eas Tchaikovsky's \u003cem\u003eSwan Lake\u003c\/em\u003e - he himself had corrected this in the back-announcement to the piece. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBACH\u003c\/strong\u003e Chorale Preludes\u003cbr\u003e Nun komm, der Heiden Heiland, BWV 599 \u003cbr\u003e Komm, susser Tod, BWV 478 \u003cbr\u003e Mein Jesu! was vor Seelenweh, BWV 487 \u003cbr\u003e Wir glauben all' an einen Gott, BWV 437 \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e Boleslaw SZABELSKI \u003c\/strong\u003eToccata (1938)\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e SHOSTAKOVICH \u003c\/strong\u003ePrelude in E flat minor, 'Zoya', Op. 34, No. 14 (orch. Stokowski) \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e PROKOFIEV \u003c\/strong\u003eRomeo and Juliet Suite\u003cbr\u003e Suite No. 1, Op. 64bis: VI. Romeo and Juliet \u003cbr\u003e Suite No. 2, Op. 64ter: VI. Dance of the Antilles Girls \u003cbr\u003e Suite No. 2, Op. 64ter: VII. Romeo at the Grave of Juliet \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e TCHAIKOVSKY \u003c\/strong\u003eSwan Lake Suite \u003cbr\u003e 1. Act 1 Introduction - Moderato assai \u003cbr\u003e 2. Act 1 No. 5 - Pas de deux \u003cbr\u003e 3. Act 2, No. 10 - Scène \u003cbr\u003e 4. Act 2, No. 13 - Danse des Cynges \u003cbr\u003e 5. Act 3, No 20a - Danse Russe \u003cbr\u003e 6. Act 3 No. 21 - Danse Espagnole \u003cbr\u003e 7. Act 4, No. 27 - Danse des petits cygnes \u003cbr\u003e 8. Act 4, No. 29 - Finale \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS \u003c\/strong\u003eSymphony No. 2 in D major, Op. 73 \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGLIERE \u003c\/strong\u003eSymphony No. 3 In B minor, Op. 42, “Il'ya Muromets” \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Live concert recordings from Orchestra Hall, Chicago: \u003cbr\u003e \u003cstrong\u003e2nd January 1958\u003c\/strong\u003e - Bach,Brahms, Szabelski \u003cbr\u003e \u003cstrong\u003e9th January 1958\u003c\/strong\u003e - Shostakovich, Glière, Prokofiev, Tchaikovsky\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conductor \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from the collections of Edward Johnson and John Kelly \u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, August-September 2010 \u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 2hr 37:58\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\/PASC242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC242.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34501595469,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34501595533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34501595597,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34501595661,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC242_f068f585-1165-4c6a-9c87-a6b244a64c69.jpg?v=1490096441"},{"product_id":"pasc242-cd","title":"STOKOWSKI Chicago Debut Concerts (1958) - PASC242 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54910721065294,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478219341,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC242.jpg?v=1759331769"},{"product_id":"pasc160","title":"PROKOFIEV plays Prokofiev: Piano Concerto No, 3, Romeo \u0026 Juliet Suite (1932\/38) - PASC160","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003ePiano Concerto No 3 in C, Op. 26\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eRomeo and Juliet - Suite No 2, Op. 64b\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1932 and 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 56:31 \u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eSergei Prokofiev, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e London Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econd.\u003cb\u003e Piero Coppola\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMoscow Philharmonic Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econd.\u003cb\u003e Sergei Prokofiev\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e  \u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC160.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe composer plays and conducts in rare studio appearances\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eWith much-improved XR-remastered sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe 1938 recording of the second \u003cem\u003eRomeo and Juliet\u003c\/em\u003e suite came to me from a US-based collector some time ago, with the suggestion that it could really use some 'assistance' given its original provenance, released on Soviet-era Melodiya 78s. My previous experience with Russian 78s was not great - as the most junior of sound engineering trainees at the BBC nearly 20 years ago I was regularly assigned to a unit which provided taped copies of the gramophone library's rarer recordings, when requested by radio and TV producers around the corporation. Of the few 78s that I recall now was a sealed, mint, unplayed copy of an early revolutionary Russian disc, which I guess would have dated from some time in the 1920s. I looked forward to the opportunity to hear a 78 that would be as good as the day it was pressed - it remains perhaps the most atrocious commercial disc I've ever come across. I don't know what they were using in the shellac compound, but it was certainly being made down to a very low price!\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eFortunately, despite some wrestling with high frequency distortion, the 1938 Prokofiev Moscow recording most certainly isn't in the same category. Unfortunately I have no information as to the provenance of the pressings used in this transfer, and as such it's been on the back-burner for quite a long time - which is a real shame as it's come out wonderfully in both restoration and through XR remastering - the edges may be a little rough at times, but there's a fabulous degree of clarity, depth and dynamics to be found here. So when Dr. John Duffy's astonishing new transfer of Prokofiev's 3rd Piano Concerto, very well recorded in Abbey Road Studio 1 in 1932, arrived recently (his pre-XR transfer can be found on our PADA Exclusives subscription service) I realised I had the ideal opportunity to put the two together and finally issue the Moscow recording.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe quality of Dr. Duffy's transfer was exemplary, with astonishingly low surface noise and a very judicious application of Ambient Stereo (if you prefer mono you can can rest easy - the Ambient Stereo effect completely cancels itself out when channels are mixed to mono). My task here was in the application of the XR remastering process, which served to open out the top end considerably, as well as rein in an at times rather heavy bass - both of these (it should be stressed) products of the original microphones and recording equipment. The result is a wonderfully clear and well-extended sound, with very little surface noise ever apparent, and the frequent impression of listening to something from the mid-1950s rather than the early 1930s. In short, it's quite remarkable!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003ePiano Concerto No 3 in C, Op. 26\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eRomeo and Juliet - Suite No 2, Op. 64b\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSergei Prokofiev, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e London Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econd.\u003cb\u003e Piero Coppola\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMoscow Philharmonic Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econd.\u003cb\u003e Sergei Prokofiev\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1. Recorded 27-28 June, 1932, Abbey Road Studio 1, London, produced by Lawrance Collingwood\u003cbr\u003e Issued as HMV DB1725-27, Matrix nos. 2B2950-55\u003cbr\u003e Transfer and restoration by Dr. John Duffy\u003cbr\u003e XR remastering by Andrew Rose, April 2009\u003cbr\u003e \u003cbr\u003e2. Recorded in Moscow by Melodiya, 1938, transfer from a private collection\u003cbr\u003e XR remastering by Andrew Rose, April 2009\u003cbr\u003e Cover artwork based on a photograph of Sergei Prokofiev\u003c\/p\u003e\u003cp\u003eTotal duration: 56:31 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC160.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC160.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34752227533,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34752227661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34752227725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34752227789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC160.jpg?v=1490374085"},{"product_id":"pasc160-cd","title":"PROKOFIEV plays Prokofiev: Piano Concerto No, 3, Romeo \u0026 Juliet Suite (1932\/38) - PASC160 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478306061,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478306125,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC160_db5d7167-0fc6-4b54-8cb5-e89b22d4726f.jpg?v=1658242598"},{"product_id":"pasc161","title":"STOKOWSKI Prokofiev: Symphonies 5 and 6 (1949\/58) - PASC161","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e5\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e6\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1958 \u0026amp; 1949\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\" style=\"font-size: 10px;\"\u003eTotal duration: 78:51 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eUSSR Radio Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eNew York Philharmonic Symphony Orchestra\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econducted by \u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStokowski’s performance captures that anguish better than any modern recording I know578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere are two fascinating Stokowski rarities, two \ngreat 20th-century symphonies that were exactly his kind of music, and \nof which he made no other recordings. His 1958 Prokofiev Fifth with the \nUSSR Radio Symphony sounds so like Rodzinski’s 1946 Columbia recording \nwith the New York Philharmonic that for almost two minutes I could not \nbelieve it was anything else. Finally a few clipped phrases and some \nRussian brass convinced me otherwise. I say this as a compliment; \nRodzinski’s was the finest early recording, a performance superior to \nKoussevitzky’s better-known version and to many that followed it. This \nRussian recording better captures the low brass, in particular a \nsuperbly played tuba, and has a stronger top end than the Columbia. I \nnever heard the original Melodiya LP from which it was transferred; \nlocally available LPs on the Bruno and MK labels were too dreadful to \ncontemplate, the former murky, the latter as grainy and noisy as poor 78\n shellac. This transfer is entirely successful, making what was \nobviously a so-so monaural recording eminently listenable. The digital \nera finally delivered two stunning Prokofiev Fifths: the Decca recording\n by Ashkenazy and the Concertgebouw, and—even better—DG’s Chicago \nSymphony under Levine.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe 20th century saw a number of cases where a \npremiere performance nailed a work to an extent that might never be \nmatched; the 1939 Székely\/Mengelberg Bartók Violin Concerto comes to \nmind. Who wouldn’t like to hear Monteux’s 1913 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or any of Mahler’s own premieres of his symphonies? The enormous effort\n required to learn, prepare, and play a new work often leads to sincere,\n devoted, intense performances. Stokowski’s Prokofiev Sixth was such an \noccasion; he gave the first U.S. performance of the Sixth two weeks \nprior to this, its radio premiere. The 1945 symphony was expected to \ncelebrate Russia’s victory in World War II, but its dissonance and \nemotional anguish led to its banishment from the Soviet Union for the \ncomposer’s lifetime, and for Stalin’s—they died on the same day. \nProkofiev is reported to have said of his symphony, “Now we are \nrejoicing in our great victory, but each of us has wounds that cannot be\n healed” (from Philip Ramey’s notes to a 1982 New York Philharmonic \nissue of this performance). Stokowski’s performance captures that \nanguish better than any modern recording I know.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe qualifier is because another premiere, the \nfirst commercial recording, made by Eugene Ormandy and the Philadelphia \nOrchestra just six weeks later, nearly equals Stokowski in potency and \nsurpasses it in execution—this live performance suffers from a couple of\n exposed horn clams. Although I do not have it on hand, I remember \nOrmandy’s stereo remake to have had a lesser impact. The differences \nbetween the pair of early performances are those one would expect from \nthe two orchestras in that era: The Philadelphia strings are smooth, \nlush, and deep, at the expense of its fine winds; New York’s thinner, \nharsher strings not only let its distinctive winds come through but seem\n more suitable for this austere music. Ormandy’s slow Largo lacks the \nbite Stokowski achieves at quicker pace. Any preference between these \ntwo superb performances must be a personal one, but the Omandy has never\n appeared on CD, to my knowledge. The Stokowski has been available only \non a rare two-LP set, a 1982 promotional issue by the New York \nPhilharmonic. Pristine’s transfer was made directly from privately held \nacetates; as fine as Steven Smolian’s transfers for the LPs were, \nadvances in technology and Andrew Rose’s skill have opened up the top \nend without increasing the noise, producing a more vital sound that \nenlivens the whole symphony. Its apparently greater harshness is merely \ncapturing the essence of the performance and of the music. Neeme Järvi \non Chandos and Theodore Kuchar on Naxos—both gloriously recorded—are my \npreferred modern recordings of the Sixth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is another necessary historical issue for which we must thank Andrew Rose’s taste and judgment as well as his skill. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames H. North  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThis article originally appeared in Issue 33:6 (July\/Aug 2010) of Fanfare Magazine\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC161.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eTwo rare and electrifying performances from Stokowski\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eAmong the finest Prokofiev performances ever recorded\u003c\/span\u003e\u003c\/i\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThese rare recordings came up for review as part of a look at the world of \"Private CDs\" by Robert Stumpf II at \u003ca href=\"http:\/\/www.classical.net\/music\/recs\/reviews\/maestrno\/privatecds.php\" target=\"_blank\"\u003eClassical Net Review\u003c\/a\u003e a few years ago, and in reading them one is immediately struck by his enthusiasm for both recordings:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cem\u003e...but the whole thing is worth it just\n for the Prokofieff. This was recorded whilst the Maestro was on tour in\n the USSR and is one of the most intense recordings ever. It is my \nfavorite and I am glad to have it on CD...\u003c\/em\u003e\u003cbr\u003e (On the 5th Symphony)\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cem\u003e...Again, the Prokofieff makes this a \nmust have disc. Taken from the LP issued several years ago by the NYPO \nthis is the finest performance there is. The orchestra is inspired and \nthe sound is excellent...\u003c\/em\u003e\u003cbr\u003e (On the 6th Symphony)\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhilst I would dispute the sound quality of\n the 6th Symphony, at least in its original incarnation (we were sent \n1\/4\" tape transcriptions of the acetates from the archives of the \nStokowski Society which are surely as good as anyone else is likely to \nget), it's certainly hard to argue against the general thrust of \nStumpf's enthusiasm for both of these, and it's a mystery as to why \nStokowski did not programme them more often.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eAs the Society's Edward Johnson pointed out to me in his letter accompanying the masters, \"\u003cem\u003eStokowski\n gave the US Première of the Prokofiev 6th in 1949, and conducted it \nfour time altogether - on 24, 25 and 26 November and again of 4 \nDecember. This last performance was broadcast \u003c\/em\u003e[the recording now issued]\u003cem\u003e.\u003c\/em\u003e \u003cem\u003eIt\n was also the last time he conducted it! He only conducted No. 5 again \none more time - in 1967 with the American Symphony Orchestra.\u003c\/em\u003e\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eMr. Johnson also enclosed notes by Stokowski on the 6th Symphony, written for the Philharmonic program:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\" align=\"left\"\u003eProkofiev's SIXTH SYMPHONY is a \nnatural development of his immense musical gifts. It is in three parts -\n the first moderately quick, the second slow, the third very animated. \nThe first part has two themes - the first in a rather fast dance rhythm,\n the second a slower song-like melody, a little modal in character, \nrecalling the old Russian and Byzantine scales. Later this music becomes\n gradually more animated as the themes are developed, and after the \nclimax of this development there is a slower transition to the second \npart. I think this second part will need several hearings to be fully \nunderstood. The harmonies and texture of the music are extremely \ncomplex. Later there is a theme for horns which is simpler and sounds \nlike voices singing. This leads to a warm \u003cem\u003ecantilena\u003c\/em\u003e of the \nviolins and a slower transition to the third part, which is rhythmic and\n full of humor, verging on the satyrical. The rhythms are clear-cut, and\n while the thematic lines are simple, they are accompanied by most \noriginal harmonic sequences, alert and rapid. Near the end a remembrance\n sounds like an echo of the pensive melancholy of the first part of the \nsymphony, followed by a rushing tumultuous end.\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\" align=\"left\"\u003eI knew Prokofiev well in Paris and \nin Russia, and feel that this symphony is an eloquent expression of the \nfull range of his personality. It is a creation of a master-artist \nserene in the use and control of his medium.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e From a technical perspective both \nrecordings have responded very well to XR remastering and restoration. \nThe 1958 Russian 'studio' recording is clearly more advanced than the \nearlier radio broadcast, captured original on disc rather than tape and \ntaken from the radio feed (we've retained a very brief introduction and \npay-off from the announcer). Saying that, the older recording has \ncleaned up remarkably well, and one quickly adapts to the slightly \nreduced sonic resolution presented here. There were a couple of very \nshort drop-outs during the second movement of the 6th which have been \npatched using surrounding material, and I've been able to tackle a good \nbit of the typical higher-frequency surface noise found on acetate disc \nrecordings of this era to the extent that it's rarely apparent to any \nnoticeable degree.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhat was most unusual was the clear use of \nsome kind of primitive artificial reverberation at the end of the 5th \nSymphony recording, heard during the decay of the final chord, which was\n itself 'chopped' off early. I've removed this and attempted to \nsynthesize something a little more credible with what was left - it's \ncertainly a lot less of a jolt than the original!\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eOverall this recording presents two rare \nrecordings by Stokowski that have the added benefits of being both in \nexcellent sonic order, and of the very highest performance standards!\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e5 in B flat, Op. 100\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eUSSR Radio Symphony Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eTchaikovsky Hall, Moscow, 15th June 1958, issused as Melodya MK 1551\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\" style=\"font-size: 12px;\"\u003eRecorded\n by Melodya during Stokowski's 1958 Russian tour, early summer, 1958, \nthis was his only recording for the label and his only studio recording \nof any symphony by Prokofiev. Following this tour he was to conduct this\n symphony one more time only, in a 1967 concert with the American \nSymphony Orchestra.\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Transfer of original LP disc from the collection of Edward Johnson.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 16px;\"\u003eSymphony No. \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e6 in E flat minor, Op. 111\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eNew York Philharmonic Symphony Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eCarnegie Hall, New York, 4th December, 1949\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\" style=\"font-size: 12px;\"\u003eFirst\n US broadcast of this work, its fourth performance in the US - Stokowski\n had conducted its US première on 24th November 1949, and programmed it \nagain on 25th and 26th November. There are no other recordings of \nStokowski conducting this piece - this was his final performance of it.\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Reel-to-reel tape copy of original acetates from the collection of Edward Johnson, transfer by Andrew Rose\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e \u003cbr\u003e Total duration: 78:51 \u003cbr\u003e ©2009 Pristine Audio.\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\/PASC161.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC161.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":29474034319421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":29474034352189,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":29474034384957,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":29474034417725,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC161_ea64cdd7-477c-45e6-9c5e-1d6b14455336.jpg?v=1565166170"},{"product_id":"pasc161-cd","title":"STOKOWSKI Prokofiev: Symphonies 5 and 6 (1949\/58) - PASC161 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":29474034516029,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":29474034548797,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC161_d2454b33-938d-4752-a0d4-e3503d25923b.jpg?v=1658242617"},{"product_id":"pasc074","title":"SZIGETI Prokofiev Violin Concerto No. 1 (1935) - PASC074","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eV\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eiolin Concerto No.\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1935\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eDuration 20:17\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJoseph Szigeti, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e London Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eSir Thomas Beecham \u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC074.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cem\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cspan class=\"body\"\u003e\u003cem\u003eProkofiev, one of the most talented, original and accomplished of modern composers, wrote this concerto in 1913. It is unquestionably the most consequential addition to violin literature since the Concerto of Sibelius. It has all the qualities of Prokofiev's music at its best - wit, charm, stylistic distinction, superbly polished surfaces.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/em\u003e\n\u003cp class=\"body\"\u003eThus begins the sleevenotes which accompany Columbia's US album of 78s (M-244) from which this British recording was transcribed. Inaccuracies aside - it is generally accepted that the work was written in 1916-17 - it's certainly fascinating to see how a major record company set about selling what for many of its customers might have been considered a rather radical work even in the late 1930's. It's perhaps no surprise therefore that the following two paragraphs quickly extol the virtues of the performer as much as that of the work itself:\u003c\/p\u003e\n\u003cem\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\" align=\"left\"\u003e\u003cem\u003eThe vogue of the work dates from the memorable Prague International Festival of Contemporary Music when Szigeti's playing of it resulted in invitations from almost every conductor in Europe to introduce it in his particular series. Szigeti played it under Furtwängler, Bruno Walter, Malko, Ansermet, Fritz Reiner, and many other conductors in virtually every capital in Europe. Russia first heard it from Szigeti and it had to be encored in all performances in Leningrad, Moscow, Kharkov. Szigeti also played it in the United States with the New York Philharmonic, the Philadelphia and Boston Symphony Orchestras, and introduced it in Tokyo, Shanghai, Sydney and Melbourne.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\" align=\"left\"\u003e\u003cem\u003eSzigeti's mastery of the work has everywhere won him the highest praise. Some of the greatest teachers defer to his unsurpassable virtuosity as exemplified in his performance of the Prokofiev Concerto. Carl Flesch, in his encyclopedic work, \u003c\/em\u003eThe Art of Violin Playing\u003cem\u003e, maintains that future generations will always identify the names of Prokofiev and Szigeti when speaking of the Concerto in D; they will see the work through his eyes and will consider his performance a standard difficult to equal, impossible to surpass. Prokofiev, who as the composer of the concerto is qualified to express the most authoritative opinion, has said: \"\u003c\/em\u003eSzigeti is the greatest interpreter of my Concerto\u003cem\u003e.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\" align=\"left\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/em\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThere seems little point in trying to match Columbia's breathless enthusiasm for this recording in these notes, but of course I stand by everything they say, and whenever I think Prokofiev of course I think Szigeti...\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eBut to be serious for a moment, it is certainly an excellent and authoritative reading, the recording iteself marred only by a slight tendency to distortion towards side ends, something which the extended frequency range of this XR restoration tends to expose more than most - one might consider it the occasional downside of revealing the wonderful tone of both soloist and orchestra, who we find in fine form, especially Szigeti.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eI've chosen the second movement here as our example not because it is the shortest, nor because it exhibits less of the faults discernable elsewhere in this recording, but because it demonstrates better than either of the other movements the fine virtuosity and mastery of the soloist as well as the excellence of Beecham's orchestral accompaniment.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eV\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eiolin Concerto No.\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e 1 in D major\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJoseph Szigeti, \u003c\/b\u003eviolin\u003cbr\u003e\u003cp\u003e\u003cb\u003e London Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eSir Thomas Beecham \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded on 23rd August, 1935 at Abbey Road Studio 1, London\u003cbr\u003e Released in the UK as Columbia LX433-5. \u003cbr\u003e Transfer from US Columbia Masterworks set M-244\u003cbr\u003e Matrix Numbers: CAX 7583-7. 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The stimulus occurred when he was invited for two concerts\n    with the Orchestre des Concerts Colonne in Paris that featured two\n    “memorably nasty“ performances of Prokofiev's Fifth Symphony, which he\n    conducted for the first time on 22 October 1954 to clamorous critical and\n    public acclaim. \u003c\/p\u003e\u003cp\u003eThereafter Prokofiev's Fifth Symphony, together with the\n    First and the Suite from \u003cem\u003eLieutenant Kijé\u003c\/em\u003e, albeit to a lesser\n    extent, featured prominently in his programs, including at his UK debut in\n    1957. Other works by Prokofiev in his repertoire included the two violin\n    concertos, the Third Piano Concerto and the Sixth Symphony, but of these\n    only the piano concerto, with soloist Gabriel Tacchino, was recorded.\n\u003c\/p\u003e\u003cp\u003e    Shortly after the two concerts in Paris, Horenstein embarked on what he\n    called \"a vast recording program\" with the Colonne Orchestra for Vox\n    Records that included all the works featured in this release as well as his\n    celebrated recordings of Ravel's two piano concertos with Vlado Perlemuter.\n    The result were performances notable for the spirited playing, energy and\n    great flexibility of the orchestral execution, and, unusually for Vox, for\n    the vividly recorded, well-balanced sound. \u003c\/p\u003e\u003cp\u003eWith the exception of the suite\n    from \u003cem\u003eChout\u003c\/em\u003e, its first recording and a piece he learned for this\n    occasion and never repeated, all the works on this disc occupied an honored\n    place in Horenstein's regular repertoire although the Fifth Symphony, which\n    he conducted many times and in many countries to highly favorable reviews,\n    was his absolute favorite by far.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eHorenstein conducts Prokofiev\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD One\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROKOFIEV Symphony No. 1\u003c\/b\u003e in D minor, Op. 25 'Classical'\u003cbr\u003e1. 1st mvt. - Allegro  (3:47)\u003cbr\u003e2. 2nd mvt. - Larghetto  (3:36)\u003cbr\u003e3. 3rd mvt. - Gavotta: Non troppo allegro  (1:38)\u003cbr\u003e4. 4th mvt. - Finale: Molto allegro  (4:21)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePROKOFIEV Suite from The Buffoon \u003c\/b\u003e(\"Chout\") , Op. 21a*\u003cbr\u003e5. 1. The Buffoon and his Wife  (3:09)\u003cbr\u003e6. 2. Dance of the Wives  (3:28)\u003cbr\u003e7. 3. Fugue. The Buffoons Kill Their Wives  (3:51)\u003cbr\u003e8. 4. The Buffoon as a Young Woman  (4:04)\u003cbr\u003e9. 5. Third Entr'acte  (1:55)\u003cbr\u003e10. 6. Dance of the Buffoons' Daughters  (2:18)\u003cbr\u003e11. 7. Entry of the Merchant and His Welcome  (5:11)\u003cbr\u003e12. 8. In the Merchant's Bedroom  (2:03)\u003cbr\u003e13. 9. The Young Woman Becomes a Goat  (2:22)\u003cbr\u003e14. 10. Fifth Entr'acte and the Goat's Burial  (2:55)\u003cbr\u003e15. 11. The Buffoon and the Merchant Quarrel  (2:16)\u003cbr\u003e16. 12. Final Dance  (4:03)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCD Two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePROKOFIEV Symphony No. 5\u003c\/b\u003e, Op. 100\u003cbr\u003e1. 1st mvt. - Andante  (11:35)\u003cbr\u003e2. 2nd mvt. - Allegro marcato  (7:40)\u003cbr\u003e3. 3rd mvt. - Adagio  (10:51)\u003cbr\u003e4. 4th mvt. - Allegro giocoso  (9:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePROKOFIEV Lieutenant Kijé Suite\u003c\/b\u003e, Op. 60\u003cbr\u003e5. 1. Birth of Kijé  (3:52)\u003cbr\u003e6. 2. Romance  (3:50)\u003cbr\u003e7. 3. Kijé's Wedding  (2:50)\u003cbr\u003e8. 4. Troika  (2:48)\u003cbr\u003e9. 5. Burial of Kijé  (5:46)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eConcerts Colonne Orchestra Paris  \u003c\/b\u003e  \u003cb\u003e\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eJascha Horenstein\u003cbr\u003e\u003c\/b\u003e* First recording\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein\u003cbr\u003eRecorded for Vox Records at Maison de la Mutualité, Paris, 7-14 November 1954\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eTotal duration: 1hr 49:24\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC538.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC538.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fContemporary Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Horenstein persuades the Concerts Colonne orchestra into an outstanding\n    performance [of Prokofiev's Fifth Symphony]. Particularly the strings\n    shine, who play with intensity and attack; and the trumpets, happily, are\n    free from the vibrato which disfigured the Danish orchestra's playing of\n    the work. Vox, too, have contributed one of their best recordings: there is\n    brilliance, depth, and clarity throughout. This in spite of a compression\n    which allows the \u003cem\u003eClassical\u003c\/em\u003e Symphony to be included by way of\n    fill-up. Here, too, the performance is startlingly good, with point and\n    style out of the ordinary; and in particular a care for balance that allows\n    some rarely heard points of importance for once to pull their weight. This\n    version of the \u003cem\u003eClassical\u003c\/em\u003e I would class with Malko's on H.M.V. as\n    top of the list for that particular work of enchantment. And the present\n    disc as a whole I would certainly suggest for the top of any Prokofiev\n    enthusiast's list under any circumstances it is a fine achievement\n    musically, technically, and economically.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eM.M., The Gramophone, October 1955\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    But even greater degrees of excellence, in nearly every respect, are to be\n    had from Horenstein's Vox version of Prokofiev's Fifth Symphony, a\n    three-year-old record that was exceptional in its day and remains so even\nin the face of the new competition. It offers, too, a very substantial    \u003cem\u003eClassical\u003c\/em\u003e Symphony, done very winningly.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eM.M., The Gramophone, September 1958\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":12658681282621,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205545673038,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205545705806,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC538_1763be26-c77c-4408-89a6-0c8cad9ebe66.jpg?v=1535696142"},{"product_id":"pasc538-cd","title":"HORENSTEIN conducts Prokofiev (1954) - PASC538 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC538.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":12608443514941,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205545640270,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC538_6e242abb-dfef-44a3-8718-7ba67e72dc3d.jpg?v=1658745551"},{"product_id":"pasc548","title":"TOSCANINI conducts Contemporary Russian Music (1939-47) - PASC548","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 1, 'Classical'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eKABALEVSKY \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eKABALEVSKY \u003c\/b\u003eOverture to Colas Breugnon\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1939-47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:56\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe NBC Symphony’s cracking playing make the best possible case for Kabalevsky’s gloriously unsubtle melodrama578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt’s odd to imagine Prokofiev’s “Classical” \nSymphony ever having been “contemporary” music, but it had just passed \n30 years of age when Arturo Toscanini led the NBC Symphony Orchestra in \nthe broadcast performance featured on Pristine Audio’s collection of \nthree Russian symphonies of the 20th century. This very rapid rendition,\n lasting a little over 13 minutes, was taped on November 15, 1947, but \nit’s a mark of the virtuosic playing and Toscanini’s control of quick \ntempo that it rarely seems hurried; only the lightning-quick first \nmovement has the feel of many bows and fingers straining to keep \ntogether. Pristine’s transfer of the broadcast sounds much fresher than \nthat included in the Music \u0026amp; Arts set \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eToscanini Conducts Music From Russia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (MACD1115).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAccording to the booklet notes, Toscanini felt \nlittle affinity for Shostakovich’s music—“all dissonances,” he’s quoted \nas complaining—and if we’re to accept the version of the long-distance \nmusical relationship related in the disputed Shostakovich memoir, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTestimony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the composer felt little love for the performances of his occasional \ninterpreter. Toscanini lives on in the Shostakovich record books as the \nfirst conductor to perform the “Leningrad” Symphony in the United \nStates, in 1942 (though not, as claimed in the present disc’s booklet \nnote, the world premiere), but this rendition of the First Symphony was \ntaped January 14, 1939. This is, then, one of the earliest performances \nof a Shostakovich symphony on disc, and it’s painted in primary colors, \nemerging very vividly and pretty forcefully through the pre-war \nrecording. It’s very fast where you’d normally expect the music to be \nfairly fast; certainly, far more aggressively driven we than ever hear \nthis music in performances today. Really, the first movement’s genial \nsecond subject is the only moment of space and light in a particularly \nvigorous reading, and if \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTestimony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e really is to be believed, I can imagine the composer finding it all pretty short of lightness and wit.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKabalevsky’s Second Symphony of 1934 is the real \nrarity here, and Toscanini’s direct and intense approach, heard here in a\n broadcast from November 8, 1942, makes it a really enjoyable one. \nKabalevsky does, admittedly, paint in the bright and uncomplicated \ncolors of the propaganda poster, but he’s a composer of enough ability \nto do it convincingly. Where the Toscanini drive was just too much in \nthe Shostakovich, it’s positively a virtue here, and the NBC Symphony’s \ncracking playing make the best possible case for Kabalevsky’s gloriously\n unsubtle melodrama. Kabalevsky’s more familiar \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eColas Breugnon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Overture, taped on April 11, 1943, is the witty bonus at the disc’s end.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt all sounds brilliant in Andrew Rose’s \ntransfers. The original spoken radio instructions have been retained, \nwhich is a quaint touch, and the booklet notes provide a brief but \ndetailed guide (Leningrad-slip notwithstanding) to Toscanini’s work with\n the three featured composers. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003ci\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eAndrew Morris  \u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eThis article originally appeared in Issue 42:6 (July\/Aug 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 14px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC548.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    It is easy to forget, since Toscanini lived so long and the bulk of his\n    recordings came towards the end of his career, that he knew or corresponded\n    with a vast number of composers, and that he went out of his way to program\n    their compositions in his concerts. In his youth the music of Tchaikovsky,\n    Brahms, and even Wagner was relatively new. He knew Verdi, Puccini and\n    Mascagni personally and was happy to perform numerous works by both\n    well-known and more obscure American composers [see PASC495 and PASC497].\n    His relationship with contemporary Russian composers was complicated. He\n    was in personal touch with all three composers represented here, and they\n    joined together in wishing Toscanini a happy 80\u003csup\u003eth\u003c\/sup\u003e birthday in\n    1947. All of them would have been glad to receive the musical blessing,\n    bestowed by his conducting their works, of the man widely considered to be\n    the greatest living conductor. But while he was clearly willing to perform\n    modern Russian works, he did not embrace them wholeheartedly.\n\u003c\/p\u003e\n\u003cp\u003e\n    Prokofiev composed his ‘Classical Symphony’ in 1916. Perhaps the more\n    traditional form and tonality appealed to Toscanini, compared to\n    Prokofiev’s later works, as it was the only composition of his that\n    Toscanini ever conducted – three performances with the New York\n    Philharmonic in 1929, and five with the NBCSO in 1939, 1944, 1946, 1947 and\n    1951. He also recorded the work commercially for RCA in 1951.\n\u003c\/p\u003e\n\u003cp\u003e\nToscanini conducted just two of Shostakovich’s symphonies, the 1    \u003csup\u003est\u003c\/sup\u003e and the 7\u003csup\u003eth\u003c\/sup\u003e. Of those the 7\u003csup\u003eth\u003c\/sup\u003e was\n    performed only four times (the world premiere with the NBCSO followed by\n    three further performances with the New York Philharmonic, all in 1942).\n    Toscanini conducted the 1\u003csup\u003est\u003c\/sup\u003e symphony at least ten times with\n    four different orchestras - the NY Philharmonic (1931), the Vienna Symphony\n    Orchestra (1939), the BBC Symphony Orchestra (1937), the La Scala Orchestra\n    (1946) and the NBCSO (1939 and 1944). Toscanini’s biographer, Harvey Sachs,\n    describes him as ‘curious’ about Shostakovich’s music. However Toscanini\n    also described Shostakovich as ‘all dissonances’ and that perhaps explains\n    his unwillingness to conduct more popular works such as the 5\u003csup\u003eth\u003c\/sup\u003e\n    symphony.\n\u003c\/p\u003e\n\u003cp\u003e\n    Kabalevsky’s 2\u003csup\u003end\u003c\/sup\u003e symphony was programmed twice by Toscanini, in\n    1942 and 1945, both with the NBCSO. This 1942 American premiere ‘made an\n    excellent impression’ according to the New York Times, as authentically\n    fresh work by a ‘sincere and accomplished Russian composer’. Kabalevsky’s\n    Colas Breugnon Overture, composed in 1936, was performed on numerous\n    occasions by Toscanini and the NBCSO, and a commercial recording was made\n    for RCA in 1946. The 1943 broadcast presented here was the piece’s American\n    premiere.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTOSCANINI conducts Contemporary Russian Music\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003ePROKOFIEV  \u003c\/b\u003eSymphony No. 1 in D major, 'Classical', Op. 25\u003cbr\u003e1. Introduction  (0:13)\u003cbr\u003e2. 1st mvt. - Allegro  (3:37)\u003cbr\u003e3. 2nd mvt. - Larghetto  (3:31)\u003cbr\u003e4. 3rd mvt. - Gavotte. Non troppo allegro  (1:27)\u003cbr\u003e5. 4th mvt. - Fonale. Molto vivace  (4:47)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH  \u003c\/b\u003eSymphony No. 1 in F minor, Op. 10\u003cbr\u003e6. Introduction  (0:28)\u003cbr\u003e7. 1st mvt. - Allegretto - Allegro non troppo  (7:52)\u003cbr\u003e8. 2nd mvt. - Allegro  (4:54)\u003cbr\u003e9. 3rd mvt. - Lento  (8:46)\u003cbr\u003e10. 4th mvt. - Allegro molto - Lento - Allegro molto  (10:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eKABALEVSKY  \u003c\/b\u003eSymphony No. 2 in C minor, Op. 18\u003cbr\u003e11. Introduction  (0:51)\u003cbr\u003e12. 1st mvt. - Allegro quasi presto  (7:05)\u003cbr\u003e13. 2nd mvt. - Andante non troppo  (9:28)\u003cbr\u003e 14. 3rd mvt. - Prestissimo scherzando  (6:48)\u003cbr\u003e\u003cbr\u003e15. \u003cb\u003eKABALEVSKY\u003c\/b\u003e  Overture to Colas Breugnon  (5:07)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cp\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eProkofiev Symphony 1\u003c\/b\u003e\u003cbr\u003eBroadcast 15 November 1947\u003cbr\u003e\u003cbr\u003e\u003cb\u003eShostakovich Symphony 1\u003c\/b\u003e\u003cbr\u003eBroadcast 14 January 1939\u003cbr\u003e\u003cbr\u003e\u003cb\u003eKabalevsky Symphony 2\u003c\/b\u003e\u003cbr\u003eBroadcast 8 November 1942\u003cbr\u003e\u003cbr\u003e\u003cb\u003eKabalevsky Overture\u003c\/b\u003e\u003cbr\u003eBroadcast 11 April 1943\u003cbr\u003e\u003cbr\u003eBroadcast from NBC Studio 8H\u003cbr\u003eRadio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  74:56  \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC548.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC548.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":28571751481405,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205543346510,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205543379278,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC548_d23fdebf-d08f-4f81-9cf9-f4910331584e.jpg?v=1559226816"},{"product_id":"pasc548-cd","title":"TOSCANINI conducts Contemporary Russian Music (1939-47) - PASC548 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC548.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":13619340279869,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205543313742,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC548_6d37f702-feaa-4ad7-b00a-c477ea51cc70.jpg?v=1658745800"},{"product_id":"pasc558","title":"HEIFETZ plays Mozart, Prokofiev, Mendelssohn Concertos (1949\/47) - PASC558","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eViolin Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1947\/49\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:30\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJascha Heifetz, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eSerge Koussevitzky\u003cbr\u003eBell Telephone Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Donald Voorhees\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor those who love Heifetz, this must be the kind of thing they’ll love. Again, urgently recommended. Essential578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAndrew Rose’s note explains that when Jascha \nHeifetz played Mozart’s Fourth Concerto and Prokofiev’s Second with the \nBoston Symphony Orchestra on April 1, 1947, he had no idea that somebody\n was recording him. On the other hand, his broadcasts of the first \nmovement, and of the second and third, of Mendelssohn’s concerto on June\n 26, 1949 and January 20, 1947, respectively appeared on the Bell \nTelephone Hour broadcasts. Rose claims that he has finally united the \ntwo performances on a single recording for the first time. Nobody would \nneed to say more about any of this, except “urgently recommended.’ But \nI’ll go on a bit.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHeifetz liked Mozart’s Fourth Violin Concerto and \nhe championed Prokofiev’s, so listeners here enjoy the combination of \nHeifetz unedited in repertoire congenial and very much to his liking. He\n would record Mozart’s concerto in the studio on November 10 of the same\n year with Thomas Beecham and the Royal Philharmonic Orchestra and would\n do so again with Malcolm Sargent on May 14 and 16, 1962. Of the three \nreadings, then, this “bootleg” represents the earliest. Yet, as Andrew \nRose has also pointed out, the recorded sound will strike listeners as \nsurprisingly good for having been captured from behind a grill. That \nmicrophone placement sometimes leaves Heifetz sounding somewhat distant \nand swallowed a bit by the orchestral sound. But perhaps the most \nstriking surprise will be that Heifetz seems to be playing naturally and\n to indulge fewer individual mannerisms that might be expected. He and \nSerge Koussevitzky adopt quick tempos in the first movement, but they \ndon’t sound grotesquely accelerated. In the second movement, the \nmicrophone placement muffles Heifetz’s cantilena in the lower registers,\n although passages in both the upper ones and in the middle registers \ncome through clearly, as do details such as Heifetz’s elegant soaring \nportamentos—even those who decry their use should find these examples \nhighly effective in their own way. Once again in the third movement, the\n concealed microphone placement takes some of the edge off what seems to\n be exceptionally fluid passagework. Ruggiero Ricci once identified the \npassages in this movement that call for rapid multi-string crossings as \nthe most difficult in the literature. Heifetz appears (in so far as we \ncan hear) to take them in stride.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven the combination of lower register and the \nconcealed microphone can’t irretrievably bury Heifetz’s smoldering \nopening solo in Prokofiev’s Second Violin Concerto—nor the searing \nlyrical passagework with which Heifetz spins out the thematic \nimplications of that opening. He’s incisive in the movement’s swirling \nmiddle section; and if his readings sounded progressively desiccated as \nhe grew older—and that’s an arguable proposition—that process obviously \nhadn’t begun by April 1, 1949. (His other recordings of the work come \nfrom December 20, 1937 with the same conductor and orchestra and from \nFebruary 24, 1959, again with the Boston orchestra, but this time under \nCharles Munch.) The second movement’s contrasts of the hypnotically \nmelodic and the abrasively bristling prove more effective than they \nwould, at least, in the later issue. Heifetz’s dominant personality \nsurmounts the last movement’s aggressively thumping orchestral \ninterjections. His mastery of the incisive passagework has always given \nhim something of an edge in this work, so it’s a privilege to enjoy it \nunprocessed. The ending is simply overwhelming.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMendelssohn’s Violin Concerto, especially its last movement, served as a calling card for Heifetz (he left it in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLet Them Have Music\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e);\n its first movement sounds urgently alive in this Bell Telephone Hour \nperformance. After hearing the two covertly recorded performances, it’s \nalmost startling to hear Heifetz’s opulent sound emerge again at the \norchestra’s fore. This recording took place on June 26, 1949; just about\n two weeks earlier, Heifetz had made his first recording of the work \nwith Thomas Beecham and the Royal Philharmonic Orchestra (a second would\n follow about nine years later with Charles Munch and the Boston \nSymphony Orchestra on February 23 and 25, 1959). Heifetz’s energy in the\n broadcast seems much higher than it would later, and the close miking \nallows listeners to take a front-row seat, hearing with crystal clarity \nthe snap of his bow and of his attack in the cadenza. The last two \nmovements come from January 20, 1947; the recorded sound represents \nHeifetz at similarly close range, so vibrant that some listeners may \nwonder why he tolerated what engineers would do to his studio recordings\n later (consider how warmly commanding Pristine has made him sound in \nBach’s Solo Sonatas and Partitas). It’s like the cleaned\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e La Primavera\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It’s no surprise that he sounds so dazzling in the finale. The surprise\n instead lies in how well listeners can hear him in it.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBack to the prematurely rendered judgment, \nresoundingly reaffirmed: For those who love Heifetz, this must be the \nkind of thing they’ll love. Again, urgently recommended. Essential. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 43:1 (Sept\/Oct 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC558.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    When Jascha Heifetz performed these two concertos on 1 April 1949 with the\n    Boston Symphony Orchestra under Serge Koussevitzky he almost certainly did\n    not know that he was being recorded. The regular broadcasts of the BSO had\n    been transferred from the NBC Blue to the new ABC network in 1945, but this\n    arrangement only lasted a season. BSO concerts were not broadcast\n    nationally again until 1954 when NBC was looking for a ready replacement\n    for its own NBCSO broadcasts after Toscanini’s retirement. So, who recorded\n    this concert, and several others from the 1948-9 season? It turns out this\n    was an early ‘bootleg’ recording made by the owner of a Boston recording\n    studio who set up a microphone in a ventilating grill on the right of the\n    stage, with a link to his disc-cutting machines. There was apparently no\n    thought of exploiting the recordings for commercial gain, but copies\n    gradually began to circulate among enthusiasts. As direct line recordings,\n    albeit with less than optimum microphone placings, they do not suffer from\n    the limitations of an aircheck and offer surprisingly clear and detailed\n    reproduction.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Bell Telephone Hour began in 1940 and continued on NBC radio until\n    1958. The usual format was to have a guest artist perform alongside the\n    resident orchestra. The 30 minute format (despite the name of the show!)\n    did not really allow for long pieces to be played, so singers or\n    instrumentalists performed a number of shorter items, while the orchestra\n    played equally short pieces in between. Jascha Heifetz was a very frequent\n    guest on the programme and played a wide variety of popular music. Over the\n    course of two programmes, separated by two years, he played the entire\n    Mendelssohn violin concerto which is presented here, finally united, for\n    the first time.\n\u003c\/p\u003e\n\u003cp\u003e\n    Jascha Heifetz was one of the twentieth century’s finest violinists and\n    reviews of his concert performances in the American press had little but\n    unrelenting praise to offer. He was ‘the king of the violinists’ whose\n    ‘impeccable virtuosity’ was unmatched. In 1937 he even attracted a record\n    audience to a New York Philharmonic concert held at Lewishon Stadium of\n    18,294. These three concertos showcase the sheer breadth of Heifetz’s\n    talent. Mozart’s Violin Concerto No.4 was composed in 1775, Mendelssohn’s\n    Violin Concerto was finished in 1844, while Prokofiev’s Violin Concerto\n    No.2 was written in 1935. Heifetz is easily able to transition between the\n    classical, romantic and modern styles and, of course, each concerto offers\n    him the chance to display the virtuosity he was famed for. The beauty of\n    these live recordings is that we can appreciate Heifetz caught in the\n    moment, and in the case of the BSO recordings, completely uninhibited by\n    the thought of a microphone. We can hear precisely what he wanted his\n    audience to hear that night.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eHEIFETZ \u003c\/b\u003eThree Violin Concertos\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART  Violin Concerto No. 4\u003c\/b\u003e in D, K.218 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt - Allegro  (8:01)\u003cbr\u003e2. 2nd mvt - Andante cantabile  (6:26)\u003cbr\u003e3. 3rd mvt - Rondeau: Andante grazioso  (6:45)\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePROKOFIEV  Violin Concerto No. 2\u003c\/b\u003e, Op. 63 \u003c\/span\u003e\u003cbr\u003e4. 1st mvt - Allegro moderato  (9:16)\u003cbr\u003e5. 2nd mvt - Andante assai  (8:05)\u003cbr\u003e6. 3rd mvt - Allegro ben marcato  (5:55)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra   \u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eSerge Koussevitzky\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN  Violin Concerto\u003c\/b\u003e, Op. 64 \u003c\/span\u003e\u003cbr\u003e7. 1st mvt - Allegro molto appassionato  (11:02)\u003cbr\u003e8. 2nd mvt - Andante  (7:01)\u003cbr\u003e9. 3rd mvt - Allegretto non troppo - Allegro molto vivace  (5:59)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBell Telephone Orchestra   \u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eDonald Voorhees\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eJascha Heifetz\u003c\/b\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Heifetz\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMozart \u0026amp; 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Juliet Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 9, 'Great'\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1945 \u0026amp; 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 00:20\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC594.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Pierre Monteux only gave four broadcasts with the Philadelphia Orchestra:\n    two in January, 1945 (the latter of which included the Mendelssohn Violin\n    Concerto with Isaac Stern that appears on PASC 519), one the following\n    October, and the last, broadcast and recorded in stereo, on March 4, 1960.\nThe first of these featured Prokofiev’s Suite No. 1 from    \u003cem\u003eRomeo and Juliet, \u003c\/em\u003ebroadcast on 6 January 1945.\n\u003c\/p\u003e\n\u003cp\u003e\n    Only the first six numbers from the Prokofiev Suite were broadcast,\n    probably due to timing reasons. (This series of broadcasts were done as\n    one-hour programs in an empty hall between 6:00 and 7:00 p.m. on Saturday\n    nights preceding the regular subscription concerts at 8:00.) The seventh\n    number, \"Tybalt's Death\", was omitted. It's the only Monteux recording of\n    the work that we are aware of. He never recorded any Prokofiev\n    commercially, and the only other known live broadcast of his music is the\n    \"Classical\" Symphony with the Boston Symphony in a West Hill Radio Archives\n    release.\n\u003c\/p\u003e\n\u003cp\u003e\n    The 1960 broadcast from WFLN-FM features three works, two of which Monteux\n    did not record commercially (the Hindemith \u003cem\u003eMathis der Maler \u003c\/em\u003e\n    Symphony and the Schubert 9th), along with the Brahms \u003cem\u003eTragic \u003c\/em\u003e\n    Overture, which he did record in the studio but which wasn't released until\n    decades after his death. We have opted to preserve the order in which the\n    pieces were performed in the 1960 concert, and retained the announcements.\n    All the recordings were made in the Academy of Music.\n\u003c\/p\u003e\n\u003cp\u003e\n    As with the Stokowski Philadelphia Orchestra broadcasts of 1962 (PASC372\n    \u0026amp; PASC379) the musical content of these recordings was preserved\n    separately to the applause and announcements, and in a different stereo\n    format normally reserved for broadcasting. I’ve employed cross-fades where\n    possible to reduce any sense of a jump from one to the other, but\n    sharp-eared listeners may still detect this.\n\u003c\/p\u003e\n\u003cp\u003e\n    The 1960 Philadelphia recordings have survived exceptionally well on\n    magnetic tape reels for the last sixty years, and sound quality is superb\n    throughout. By contrast the 1945 acetate discs which preserve the Prokofiev\n    recording have inevitably suffered some wear and damage since their\n    creation, and this will be heard from time to time where it has proved\n    impossible to eliminate in its entirety. I have retained as much of the\n    pre-and post-announcements here as possible, though unfortunately very\n    little remains. Nevertheless, despite these caveats, this remains a hugely\n    enjoyable performance and a vital addition to the Monteux catalogue.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eAndrew Rose\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eMonteux in Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e1. RADIO 1945 Introduction*  (0:12)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003ePROKOFIEV  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eRomeo \u0026amp; Juliet Suite No. 1, Op. 64bis*\u003c\/span\u003e\u003cbr\u003e2. 1. Folk Dance  (4:26)\u003cbr\u003e3. 2. Scene  (1:25)\u003cbr\u003e4. 3. Madrigal  (3:28)\u003cbr\u003e5. 4. Minuet  (3:04)\u003cbr\u003e6. 5. Masks  (2:03)\u003cbr\u003e7. 6. Romeo and Juliet  (8:14)\u003cbr\u003e\u003cbr\u003e8. RADIO 1960 Introduction to First Half  (3:12)\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eTragic Overture, Op. 81\u003c\/span\u003e  (13:22)\u003cbr\u003e\u003cbr\u003e10. RADIO Link to Hindemith  (1:58)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eHINDEMITH  \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e11. 1st mvt. - Engelkonzert  (8:52)\u003cbr\u003e12. 2nd mvt. - Grablegung  (4:08)\u003cbr\u003e13. 3rd mvt. - Versuchung des heiligen Antonius  (12:57)\u003cbr\u003e\u003cbr\u003e14. RADIO Back anno for Hindemith  (0:48)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cbr\u003e1. RADIO Introduction to Second Half  (2:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSCHUBERT  \u003c\/b\u003eSymphony No. 9 'Great' in C major, D.944 \u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Andante - Allegro, ma non troppo - Più moto  (13:36)\u003cbr\u003e3. 2nd mvt. - Andante con moto  (13:07)\u003cbr\u003e4. 3rd mvt. - Scherzo. Allegro vivace - Trio   (10:01)\u003cbr\u003e5. 4th mvt. - Allegro vivace  (12:27)\u003cbr\u003e\u003cbr\u003e6. RADIO Final Announcement  (0:25)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eThe Philadelphia Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003ePierre Monteux\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR Remastered by  \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003cbr\u003eLive broadcast recordings, *6 January 1945 (Ambient Stereo) \u0026amp; 4 March 1960 (stereo)\u003cbr\u003eRecorded at the Academy of Music, Philadelphia\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e2hr 00:20\u003c\/b\u003e     \u003c\/p\u003e\u003cp\u003eCD1: 68:09      CD2: 52:11   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC594.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC594.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fConcert review, 1960578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eAt the Academy\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 24px;\"\u003eMonteux Leads Phila. Orchestra\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    By \u003cb\u003eEDWIN H. SCHLOSS\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Pierre Monteux, last of this season’s guest conductors substituting for the\n    vacationing Eugene Ormandy, took the helm at Friday afternoon's\n    Philadelphia Orchestra concert in the Academy of Music.\n\u003c\/p\u003e\n\u003cp\u003e\n    Probably as an aftermath of Thursday's snow blitz, the audience was\n    relatively small.\n\u003c\/p\u003e\n\u003cp\u003e\n    Monteux, as few need be told, is one of the best-known and most admired\n    musical visitors in these parts because of his many appearances in the\n    Academy and Robin Hood Dell.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rotund, benign of countenance, and with his silvered walrus mustache\n    drooping, the distinguished octogenarian maestro stepped briskly on stage\n    to be warmly greeted by the audience. No less cordial were the orchestra\n    players, who stood in the guest’s honor.\n\u003c\/p\u003e\n\u003cp\u003e\n    Making no concession to his 85 years save for a temporary railing erected\n    to help him on and off the podium, Monteux presented a well-chosen program\n    with veteran aplomb. The visitor, one of the grandest of the grand old men\n    of music of our time, is obviously liked and respected by Dr. Ormandy’s\n    players, and they gave him even more than their usual expert support.\n\u003c\/p\u003e\n\u003cp\u003e\n    The afternoon opened with the Brahms “Tragic\" overture. Then came Paul\n    Hindemith’s suite from his opera “Mathis der Maler,” which dates from 1934\n    and was considered pretty avant garde in its day. But like much of this\n    authentically gifted composer’s works, it has worn well and found its own\n    level brilliantly over the years. Almost a semiclassic in the repertory\n    now, “Mathis” is as accessible today as, say, late Richard Strauss or early\n    Schoenberg.\n\u003c\/p\u003e\n\u003cp\u003e\n    A colorful and graphic tone poem in three parts, the suite was inspired by\n    the religious paintings of the 16th century German master Mathias\n    Grünewald.\n\u003c\/p\u003e\n\u003cp\u003e\n    With its resolved dissonances, fragmentary but expressive themes and\n    dramatic chromaticism, it was given a splendid publication that won the\n    maestro prolonged applause.\n\u003c\/p\u003e\n\u003cp\u003e\n    The last half of the bill was entirely devoted to the “heavenly length” of\n    the Schubert Seventh Symphony. That superb classic, the “Great” C major,\n    with its enchanting melodies and infectious rhythmic pulse, was heard in a\n    performance bright with intelligence, warm with understanding and validated\n    by first rate musicianship. It won Monteux an extra ovation.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Inquirer\u003c\/b\u003e, 5 March 1960\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":31637252800573,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205533876558,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205533909326,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC594.jpg?v=1585909870"},{"product_id":"pasc594-cd","title":"MONTEUX in Philadelphia: Prokofiev, Brahms, Hindemith, Schubert (1945\/1960) - PASC594 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC594.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":31637250703421,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205533843790,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC594_56a3e750-cfef-4b69-bb5f-fd34e79d277f.jpg?v=1658750521"},{"product_id":"pasc601","title":"MITROPOULOS in Philadelphia (1945-47) - PASC601","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eREGER \u003c\/b\u003eFour Tone Poems after Böcklin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eIBERT \u003c\/b\u003eEscales\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 10 for Two Pianos\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eCHOPIN\/ROGAL-LEVITZKY\u003c\/b\u003e Chopiniana\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMENOTTI \u003c\/b\u003eSebastian - Ballet Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003ePiano Concerto No. 3\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and Studio recordings, 1945-47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 32:16\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVitya Vronsky\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eVictor Babin\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003eRobin Hood Dell Orchestra of Philadelphia\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC601.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release commemorates a brief yet memorable collaboration\n    between a great conductor and orchestra. Dimitri Mitropoulos (1896 – 1960)\n    was born in Athens, mentored in Paris by Saint-Saëns, trained in Berlin\n    under Busoni, and spent his early career in Europe before making a\n    spectacular debut as a guest conductor in Boston in 1937. He was quickly\n    snatched up by the Minneapolis Symphony, which was looking to fill the\n    vacancy left by Eugene Ormandy’s move to Philadelphia. He stayed in\n    Minneapolis until 1949, when he was named co-director of the New York\n    Philharmonic with Stokowski, moving up to sole directorship the following\n    season.\n\u003c\/p\u003e\n\u003cp\u003e\n    Before that, however, Mitropoulos had a close relationship with the\n    Philadelphia Orchestra. For several seasons during the 1940s, he was the\n    music director of the Robin Hood Dell Orchestra of Philadelphia, an\n    ensemble primarily made up of members of the Philadelphia Orchestra less a\n    handful of their first-desk players. The orchestra performed during the\n    summer at the Robin Hood Dell, an outdoor amphitheater which opened 90\n    years ago this July, 2020. (The Dell hosted the orchestra from 1930 through 1975\n    before their move to the Mann Center for the Performing Arts. Until 1970,\n    they performed there under the Robin Hood Dell Orchestra name. The venue\n    itself continues to be used for popular concerts as the Dell Music Center.)\n    At the same time, Mitropoulos appeared as guest conductor with the\n    Philadelphia Orchestra during their regular concert season.\n\u003c\/p\u003e\n\u003cp\u003e\n    This release combines all of the commercial recordings Mitropoulos made\n    with the Robin Hood Dell Orchestra with the only two broadcasts in which he\n    conducted the Philadelphia Orchestra. While most of the Dell recordings\n    (actually made in the Academy of Music) appeared on a 1998 Lys CD, the\n    Mozart Two-Piano Concerto and the Mascagni \u003cem\u003eCavalleria\u003c\/em\u003e Intemezzo\n    have been harder to find. New transfers from the best original commercial\n    releases have been made for the present reissue using state-of-the-art\n    iZotope RX restoration software.\n\u003c\/p\u003e\n\u003cp\u003e\n    Despite the pre-recorded audience noise at the beginning, the two\n    Philadelphia Orchestra broadcasts for CBS were done as hour-long programs\n    in an empty Academy shortly before the ensemble’s regular Saturday night\n    concerts. Not only have the works from these concerts never before been\n    issued in their entirety, but none of the music was commercially recorded\n    by Mitropoulos, making their release here doubly valuable. The appearance\n    of the Beethoven Fourth is particularly welcome in that no other\n    Mitropoulos version has ever appeared before, and it brings his Beethoven\n    symphony cycle one step closer to completion. (Only a Seventh Symphony\n    still remains to be found.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Mitropoulos was known for his flexible sense of rhythm, his championing of\n    contemporary music, and his total commitment to his performances. One can\n    hear this throughout the works presented in this set, particularly in the\n    Menotti \u003cem\u003eSebastian\u003c\/em\u003e Suite and the Prokofiev Third Piano Concerto,\n    which Mitropoulos directs from the piano (a feat also captured in live\n    performances with the NBC Symphony and the New York Philharmonic). Even\n    Rogal-Levitzky’s over-the-top, kitchen-sink orchestration of Chopin piano\n    works receives Mitropoulos’ all-in enthusiasm. I hope you will enjoy this\n    glimpse into a particularly starry chapter in the histories of this\n    conductor and orchestra. \u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/i\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eMITROPOULOS in Philadelphia\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (68:51)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eRADIO Introduction\u003c\/strong\u003e (0:37)\n\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003eMOZART: The Magic Flute – Overture\u003c\/strong\u003e (6:40)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the CBS broadcast of 20 December 1947\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBEETHOVEN: Symphony No. 4 in B flat, Op. 60\u003c\/strong\u003e\u003cbr\u003e3. 1st mvt. – Adagio – Allegro viviace (11:01)\u003cbr\u003e4. 2nd mvt. – Adagio (10:21)\u003cbr\u003e5. 3rd mvt. – Allegro vivace (6:00)\u003cbr\u003e6. 4rd mvt. – Allegro ma non troppo (5:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the CBS broadcast of 21 December 1946\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eREGER: Four Tone Poems after Böcklin, Op. 128\u003c\/strong\u003e\u003cbr\u003e7. The Hermit Playing Violin (Alexander Hilsberg, \u003cem\u003esolo violin\u003c\/em\u003e)\n    (10:47)\u003cbr\u003e8. In the Play of the Waves (3:49)\u003cbr\u003e9. The Isle of the Dead (9:21)\u003cbr\u003e10. Bacchanal (4:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the CBS broadcast of 20 December 1947\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (77:53)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e IBERT: Escales (Ports of Call)\u003c\/strong\u003e\u003cbr\u003e1. Rome – Palermo (6:34)\u003cbr\u003e2. Tunis – Nefta (2:31)\u003cbr\u003e3. Valencia (6:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the CBS broadcast of 20 December 1947\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eR. STRAUSS: Der Rosenkavalier – Suite \u003c\/strong\u003e(23:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the CBS broadcast of 21 December 1946\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eDimitri Mitropoulos ∙ The Philadelphia Orchestra \u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOZART: Concerto for Two Pianos and Orchestra in E flat, K365\u003c\/strong\u003e\u003cbr\u003e5. 1st mvt. – Allegro (9:32)\u003cbr\u003e6. 2nd mvt. – Andante (7:29)\u003cbr\u003e7. 3rd mvt. – Rondo (Allegro) (6:55)\u003cstrong\u003e\u003cbr\u003eVitya Vronsky \u003c\/strong\u003e\n    and \u003cstrong\u003eVictor Babin, \u003c\/strong\u003e\u003cem\u003epianists\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 September 1945 ∙ Matrices: XCO 35212\/4 \u0026amp; 35221\/3 ∙ Columbia\n    12389\/91-D in album M-628\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. \u003cstrong\u003ePUCCINI: Manon Lescaut – Intermezzo \u003c\/strong\u003e(3:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 July 1946 ∙ Matrix: XCO 36692 ∙ Columbia 12981-D in album\n    MX-317\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n9. \u003cstrong\u003eMASCAGNI: Cavalleria Rusticana – Intermezzo \u003c\/strong\u003e(3:59)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 July 1946 ∙ Matrix: XCO 36693 ∙ Columbia 12982-D in album\n    MX-317\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eWOLF-FERRARI: The Jewels of the Madonna\u003c\/strong\u003e\u003cbr\u003e10. Intermezzo No. 1 (3:50)\u003cbr\u003e11. Intermezzo No. 2 (3:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 July 1946 ∙ Matrix: XCO 36694\/5 ∙ Columbia 12981\/2-D in album\n    MX-317\n\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 3 (65:31)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e CHOPIN\/ROGAL-LEVITZKY: Chopiniana\u003c\/strong\u003e\u003cbr\u003e1. Etude No. 12 in C minor, Op. 10, No. 12 (“Revolutionary”) (2:41)\u003cbr\u003e2. Nocturne No. 13 in C minor, Op. 48, No. 1 (5:51)\u003cbr\u003e3. Mazurka No. 25 in B minor, Op. 33, No. 4 (5:40)\u003cbr\u003e4. Valse brillante No. 14 in E minor, Op. Posth. (2:58)\u003cbr\u003e5. Polonaise No. 6 in A flat, Op. 53 (“Heroic”) (5:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 September 1945∙ Matrices: XCO 35215\/20 ∙ Columbia 12263\/5-D in\n    album M-598\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMENOTTI: Sebastian – Ballet Suite\u003c\/strong\u003e\u003cbr\u003e6. Introduction (2:02)\u003cbr\u003e7. Barcarolle (3:31)\u003cbr\u003e8. Street Fight (1:18)\u003cbr\u003e9. Cortège (3:55)\u003cbr\u003e10. Sebastian’s Dance (2:06)\u003cbr\u003e11. Pavane (3:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 July 1946 ∙ Matrices: XCO 36696\/9 ∙ Columbia 12571\/2-D in album\n    X-278\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003ePROKOFIEV: Piano Concerto No. 3 in C, Op. 26\u003c\/strong\u003e\u003cbr\u003e12. Andante – Allegro (8:48)\u003cbr\u003e13. Theme and Variations (8:18)\u003cbr\u003e14. Allegro ma non troppo (8:41)\u003cstrong\u003e\u003cbr\u003eDimitri Mitropoulos, \u003c\/strong\u003e\n    \u003cem\u003epianist\u003c\/em\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 July 1946 ∙ Matrices: XCO 36686\/91 ∙ Columbia 12509\/11-D in\n    album M-667\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eDimitri Mitropoulos ∙ Robin Hood Dell Orchestra of Philadelphia\u003c\/span\u003e\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional noise reduction for Ibert, additional pitch stabilisation: Andrew Rose\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Dimitri Mitropoulos\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  \u003c\/b\u003e3hr 32:16\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC601.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC601.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eDimitri Mitropoulos – A Greek’s Passion\n        \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n        \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003eby\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Gary Lemco\n    \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eWhen we consider the artistry and career of Greek conductor Dimitri\n    Mitropoulos (1896-1960), we confront the very tensions that defined his\n    era: art and politics, identity and self-expression, tradition and\n    innovation. In my conversations with Leonard Bernstein and composers David\n    Diamond and Morton Gould on the subject of Mitropoulos, each of them used\n    the word “tragic,” not so much to lament the man’s fate or personality, but\n    to characterize his inward vision, his singularly messianic dedication to\n    his art, even at the cost of social acceptance and success – and more, his\n    palpable sound in the music of such luminaries as Brahms, Scriabin, Mahler,\n    Schoenberg, Vaughan Williams, Krenek, Prokofiev and Shostakovich, that\n    reveals the anguish of their respective worlds.\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n    Born in Athens of a highly religious family, the young Dimitri Mitropoulos\n    might have entered the monastery on Mount Athos and remained there,\n    literally a priest rather than a “priest of art.” But the authorities\n    forbade him even a harmonium in his cell, and he rebelled, entering the\n    Athens Conservatory and mastering the keyboard and musical composition. In\n    1919, Mitropoulos’ opera \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eSoeur Beatrice\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e (after Maurice Maeterlick)\n    was performed, and on the basis of that success, he sojourned first to\n    Paris for consultation with Camille Saint-Saens, and upon his\n    recommendation on to Berlin (1920) for studies with Ferruccio Busoni and\n    Paul Gilson. The Busoni circle included the gifted pianist Egon Petri\n    (1881-1962) with whom he performed often in Berlin. In 1941 New York City\n    they organized, with Joseph Szigeti, a major tribute to Busoni that\nincluded such works as the \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e and    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eIndian Fantasy\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e. It was a sudden illness that had befallen Petri\nthat required Mitropoulos first to conduct in Berlin the Prokofiev    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eC Major Concerto \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003efrom the keyboard, a feat he repeated both in\n    later concerts and on record with the Robin Hood Dell Orchestra of\n    Philadelphia.\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n    In Berlin, between 1921 and 1925, Mitropoulos served with the Berlin State\n    Opera, working with Erich Kleiber. After Kleiber left Nazi Germany,\n    Mitropoulos, working with Stokowski at the NBC Symphony Orchestra,\n    influenced authorities that Kleiber should be welcome to lead the NBC in a\n    series of concerts. But it was Boston and Koussevitzky who invited\n    Mitropoulos to debut in the United States. Bernstein, a young, aspiring\n    pianist, composer and conductor, was in attendance. “Mitropoulos led a\n    performance of Ravel’s \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRapsodie espagnole\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e that hit me like a\n    revelation. And the sensuality – I tell you, there wasn’t a dry seat in the\n    house!” Mitropoulos, having made an immediate sensation, accepted the\n    duties of leading the Minneapolis Symphony Orchestra, replacing Eugene\n    Ormandy, who had assumed the post at the Philadelphia Orchestra. C. Ryan\n    Hill, reviewing Mitropoulos in Minneapolis, praised the “French” sound\n    Dimitri elicited from the brass, “gushing” crescendos, the genuineness and\n    compelling quality of the Mitropoulos sonic image, the rapport between\n    conductor and his loyal ensemble. There were, however, those complaints\n    about Mitropoulos’ selected repertory, which would challenge\n    traditionalists with strong doses from the Second Viennese School as well\n    as contemporary American composition, some of which Mitropoulos himself\n    commissioned. “What bothered many about Dimitri in Minneapolis and New York\n    City,” proffered David Diamond in my interview with him at Juilliard, “was\n    his odd juxtaposition of musical styles. He’d schedule quite imposing works\n    – a \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003ePrometheus \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003eof Scriabin, the Chausson \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eB-flat Symphony\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e,\n    a Mahler Sixth; and then, virtually out of nowhere except his facile\nimagination, you’d get \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eThree Dances\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e from Falla or    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eMarche Joyeuse\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e!” A case in point is the somewhat jarring presence\nof the Ibert \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eEscales\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e directly following on the heels of the moody    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eBoecklin Poems\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e by Reger on the 20 December 1947 concert by the\n    Philadelphia Orchestra presented here.\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n    The cry of conservatism found its most rabid spokesperson in Howard Taubman\n    of \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe New York Times \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003ein August 1956, who excoriated Mitropoulos\n    for what Taubman construed as a lack of orchestral discipline and a failure\n    to maintain the prestige of the Philharmonic. Taubman deplored Mitropoulos’\n    seeming lack of sympathy for the standard Classical repertory and early\n    Romantic music: the “feverish intensity” Mitropoulos brings to “areas of\n    twentieth century music . . . Richard Strauss, Mahler, Schoenberg, or Berg\n    . . . to a Puccini opera . . . become failings, for [Classical] works need\n    proportion and delicacy.” “It is true,” observed Stefan Bauer-Mengelberg\n    (1927-1996), assistant conductor at the Philharmonic, “that Dimitri seemed\nto court complexity. His eidetic memory would seize the entire score of    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eWozzeck;\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e and, in the midst of what to others might be cacophony\n    and pure dissonance, he would announce, ‘F-sharp, clarinet, F-sharp,’ and\n    suddenly bring out a Viennese waltz, the ‘human’ element in the most severe\n    aural environment. And when I recall his Mahler\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003e Ninth\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e with the\n    Philharmonic, I envision a man’s leading not so much music as an Idea.”\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n    Mitropoulos abdicated his post with the New York Philharmonic, at once\n    mentioning “a stab in the back” and the opportunity to court “that very\n    tempting mistress, the MET.” In 1957, Mitropoulos shared a South American\n    tour with his successor, Leonard Bernstein, and conducted his final New\n    York Philharmonic concerts as music director, subsequently serving at the\n    MET from 1957 onward. Mitropoulos' Philharmonic concerts in January 1960\n    included a Mahler festival. Mitropoulos remained highly welcome in Europe,\nhaving led the Vienna Philharmonic, most notably, the Berlioz    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003e Requiem \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003ein memory of Wilhelm Furtwaengler. Invitations came not\n    only from Salzburg but from Cologne, Germany; but by 1960 his physical\n    health had been compromised. An avid mountaineer, Mitropoulos no less\n    suffered an addiction to Galoises cigarettes, with frightful damage to his\nheart. Refusing to cancel his work in Cologne – on the Mahler    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eD Minor Symphony\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e – he sped immediately to Milan to begin\n    rehearsals of that same Mahler \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eThird\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e on November 1. A massive\n    heart attack took him, and he was already dead when he struck the floor.\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n    What is past is prologue. Assessments of Dimitri Mitropoulos maintain his personal lifestyle – as an unapologetic homosexual who eschewed Leonard Bernstein’s option for a “cosmetic marriage” - may have played a role in the decision to remove him from the New York Philharmonic. His personal\n    generosity, however, goes unblemished, from those who consistently mention\n    his donating his own money to purchase musicians’ instruments. Leonard\n    Pennario recalled having suffered a chastisement from Dimitri: “After we\n    performed the Rachmaninoff \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eSecond Concerto\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e, Dimitri insisted I\n    take up the \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eG Minor \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003eSaint-Saens. My personal ‘snobbery’ at the\n    time balked, and I rather laughed at Dimitri’s suggestion. Well, boy, did\n    he ever lace it into me, reminding me that Saint-Saens had been an early\n    support for his career! I never contradicted him again.” Opera singer Licia\n    Albanese remembered having been nervous about an upcoming opera, not\n    knowing who was to lead the cast and ensemble: “When I saw Mitropoulos\n    stride out from the wings – ‘Maestro Excitement’ we called him – I thought\n    Thank God!”\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n    Of the various performances from Philadelphia presented here, perhaps the\n    most striking and important lies in the live Beethoven Symphony No. 4,\nespecially since his only commercial recording of a Beethoven symphony, the    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003ePastoral\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e from Minneapolis, testifies to Dimitri’s innate\n    ingenuousness in the face of music devoid of crisis. Though Beethoven\n    limits the strongest tension to the opening – thirty- eight harmonically\n    ambiguous measures of jabbing dissonances that might adumbrate some cosmic\n    tragedy – Mitropoulos manages a nervously bizarre atmosphere in B-flat\n    Minor, only alleviated at the repetition of the F chords that signal true\n    jubilation, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eAllegro vivace\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e.\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\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":31927332995133,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205532729678,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC601_6e809007-3905-4b38-8a5b-79c175c47ae7.jpg?v=1592547306"},{"product_id":"pasc601-cd","title":"MITROPOULOS in Philadelphia (1945-47) - PASC601 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC601.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs with case \u0026 artwork (+MP3)","offer_id":31927318642749,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":false},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205532696910,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC601.jpg?v=1658750732"},{"product_id":"pasc659","title":"BRENDEL Early Concerto Recordings: Mozart, Prokofiev, Schoenberg (1951-58) - PASC659","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSCHOENBERG \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003ePiano Concerto, Op. 42\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003ePiano Concerto No. 5 in G major, Op.55\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003ePiano Concerto No. 27 in B-flat major, K.595\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1951-58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:54\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAlfred Brendel\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eSüdwestfunkorchester Baden-Baden, Gielen\u003cbr\u003eOrchester Der Wiener Staatsoper, Sternberg\u003cbr\u003eVolksoper Wien Orchester, Angerer\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC659.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\"Vox seem to have made quite a speciality of Mozart’s piano concertos over the years, but this is the first time they have recorded the young Viennese pianist, Alfred Brendel, in any of them. One wonders why, because on the strength of these two performances Brendel has a combination of technique, temperament and sheer understanding of the music that is far too rare among pianists, I hope that Vox will give us many more of his performances of Mozart concertos, but 1 also hope that they will provide him with the recording he deserves. Although the internal balance (between piano and orchestra, and between the various sections of the orchestra) is adequate on the present record, the whole sound is over-resonant, which clouds the detail and damps out all brilliance.\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003eWith that off my chest, I can try to describe just why I like these performances so much. In the first place they are so completely characterised. Without going to dynamic extremes Brendel manages to avoid completely the neutral tinkling which often passes for Mozartian style. Here the phrasing is always alive, and when the music calls for it there is a virtuosity which is all the more exciting for being kept under perfect control. Moreover Brendel does not tie himself slavishly to the notes as printed in modem editions; he rightly feels free to join in the orchestral tuttis (particularly in K.453) and to insert the occasional cadential flourish. Since the orchestral accompaniment is thoroughly musicianly one gets far more impression than usual of co-operation between soloist and orchestra—the feeling of expanded chamber-music that these concertos demand...\"\u003cb\u003e \u003cbr\u003e\u003cbr\u003eJ.N.\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, April 1960\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThese three concerto recordings, which include what appears to be Alfred Brendel's debut recording - the Prokofiev Concerto No. 5 - all come from Vox recordings made in the 1950s. Born in 1931, Brendel had just turned 20 when he recorded the Prokofiev - an amazing achievement for a young man who had been sent to dig trenches in Yugoslavia at the age of 14 during the last days of the Second World War, and who took no further piano lessons after the age of 16.\u003c\/p\u003e\u003cp\u003eThis, and the Schoenberg he recorded in 1957, represent a rare incursion into the twentieth century for a pianist whose recorded repertoire is more well-known for his Beethoven, Haydn, Schubert and Mozart. As much as I would have liked to reproduce critical commentary on these recordings, the reviewers of the time concentrated more on describing what were exceptionally unfamiliar works to their audience rather than analysing Brendel's technique.\u003c\/p\u003e\u003cp\u003eI have estimated a recording date for the Mozart of 1958. A Vox CD reissue mistakenly attributed it to \"1961-63\", but the April 1959 review clearly rules this out, and other discographies offer few clues. The two earlier recordings were both made in mono and are presented here in Ambient Stereo. All three have benefited greatly from Pristine's XR remastering process, bringing forth a fuller, richer and clearer tone to each recording.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBRENDEL \u003c\/b\u003eEarly Concerto Recordings\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHOENBERG \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto, Op. 42\u003c\/span\u003e\u003cbr\u003e1. 1. Andante  (4:59)\u003cbr\u003e2. 2. Molto allegro  (2:44)\u003cbr\u003e3. 3. Adagio  (6:38)\u003cbr\u003e4. 4. Giocoso (moderato)  (6:38)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSüdwestfunkorchester Baden-Baden, cond. Michael Gielen\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003erecorded Loffenau, May 1957\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 5 in G major, Op.55\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro con brio  (5:04)\u003cbr\u003e6. 2nd mvt. - Moderato ben accentato  (3:18)\u003cbr\u003e7. 3rd mvt. - 3rd mvt. - Toccata. Allegro con fuoco  (2:09)\u003cbr\u003e8. 4th mvt. - Larghetto  (6:01)\u003cbr\u003e9. 5th mvt. - vivo  (5:33)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchester Der Wiener Staatsoper, cond. Jonathan Sternberg\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003erecorded Vienna, 25 January 1951\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 27 in B-flat major, K.595\u003c\/span\u003e\u003cbr\u003e10. 1st mvt. - Allegro  (14:35)\u003cbr\u003e11. 2nd mvt. - Larghetto  (8:03)\u003cbr\u003e12. 3rd mvt. - Allegro  (9:12)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVolksoper Wien Orchester, cond. Paul Angerer\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003erecorded Vienna, c.1958 (first issued April 1959)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eAlfred Brendel\u003c\/b\u003e, piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Alfred Brendel\u003cbr\u003e\u003cbr\u003eTotal duration:  74:54  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC659.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":40096489996349,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205522833742,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC659_2b58a5ad-7862-4280-9b5e-afce2942c7a1.jpg?v=1680625563"},{"product_id":"pasc695","title":"SZIGETI The European Columbia Recordings, Volume 4 (1926-46) - PASC695","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWARLOCK \u003c\/b\u003eCapriol Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eHungarian Folk Tunes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eRomanian Folk Dances\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eIVES \u003c\/b\u003eViolin Sonata No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBLOCH \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003emusic by \u003cb\u003eDebussy, Ravel, Milhaud, Lie, Szymanowski, Scriabin, Stravinsky\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-46\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 4:59\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJoseph Szigeti\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eNikita Magaloff, Kurt Ruhrseitz, Béla Bartók, Andor Foldes\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eConstant Lambert\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC695.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eJoseph Szigeti was born in Budapest in 1892.  After showing promise on the violin at a very young age, he was accepted as a student by Jenő Hubay and made his Berlin debut at thirteen.  Shortly thereafter, he settled in England for several years.  It was during this period that he met Ferruccio Busoni, who was to become a major influence in moving the young prodigy from being merely a talented virtuoso toward becoming a more intellectual and analytical musician.\u003c\/p\u003e\n\n\u003cp\u003eA stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced Szigeti to a fellow Hungarian who was to become another major influence on him as a musician and a lifelong friend, Béla Bartók.  Szigeti remained in Switzerland for several years, teaching and expanding his facility in playing chamber works.  In 1925, he played for a visiting Leopold Stokowski, and was quickly invited to make his American debut.  He shortly became established internationally as a concert artist.  He settled in the USA in 1940, and continued his concert career for another twenty years before retiring to write and teach.  He died in 1973. \u003c\/p\u003e\n\n\u003cp\u003eSzigeti’s earliest recordings were made in England for the Gramophone and Typewriter Company between 1908 and 1913.  He made no further discs during the acoustic era, save for a handful recorded in Russia in either 1924 or 1926.  In the latter year, he began an association with English Columbia that lasted for eleven years, with one session for their Japanese affiliate in 1931 that produced four sides.  In 1938, he began recording for American Columbia, where he remained until 1956, with one set (the Bloch Concerto) done for French Columbia in 1939, a single disc made for the American New Music Quarterly label in 1942, and a return to English Columbia for four sides in 1946.  His final recordings were made for Mercury in 1959-61.\u003c\/p\u003e\n\n\u003cp\u003eThis is the final volume in a series presenting all of the Columbia recordings he made in Britain, France and Japan, as well as the one New Music Quarterly disc, as a complement to Sony’s recent set comprising his American Columbia recordings.  From the 1940s onward, Szigeti began to experience increasing technical problems.  American Columbia passed on releasing his 1955-56 recordings of Bach Sonatas and Partitas as well as several contemporaneous LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard.  Szigeti himself ruefully referred to his final Mercury LPs as his “posthumous recordings”.  The performances featured here and in the prior volumes are generally judged to be his finest on disc.\u003c\/p\u003e\n\n\u003cp\u003eSzigeti championed contemporary works throughout his career, and so it is appropriate that the present program focuses mainly on Twentieth Century music.  Some words are in order about a few of the works.  Peter Warlock’s “Capriol” Suite was composed only ten years before Szigeti recorded his transcription of three of its movements; yet it almost seems to come from the time of the Renaissance dances which were its inspiration, save for its dissonant conclusion. \u003c\/p\u003e\n\n\u003cp\u003eBartók’s Portrait No. 1 had originally been written as the first movement of his first Violin Concerto; but the composer left it unpublished and repurposed this movement as the first of his two Portraits.  The concerto in its original form was only first performed in 1958.\u003c\/p\u003e\n\n\u003cp\u003eSzigeti gave the world première of the Bloch concerto in 1938 with Mitropoulos conducting the Cleveland Orchestra.  Broadcast performances have been released of his performances the following year under Mengelberg and Beecham (the latter on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc410\" target=\"_blank\"\u003ePristine PASC 410\u003c\/a\u003e), the same year he made the first recording with Munch presented here.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSZIGETI The European Columbia Recordings, Volume 4\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1\n        (53:48)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\n        \u003cstrong\u003eWARLOCK (arr. Szigeti)   “Capriol” Suite\u003cbr\u003e\u003c\/strong\u003e1. Basse-Danse: Allegro moderato(1:31)\u003cbr\u003e2. Pavane: Allegretto, ma un poco lento (2:48)\u003cbr\u003e3. Mattachins: Allegro con brio (1:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London ∙  Matrices: CA\n    15651-1 \u0026amp; 15652-1 ∙ First issued on Columbia LB 32\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eDEBUSSY (arr. Dushkin)\n    Menuet\u003c\/strong\u003e(No. 3 from Petite suite, L 65) (3:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 June 1927 in the Columbia Petty France Studio,  London ∙ Matrix:\n    WAX 2912-2 ∙ First issued on Columbia L 2037\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e5. \u003cstrong\u003eRAVEL (arr. Leduc)  Pi\u003c\/strong\u003e\u003cstrong\u003eè\u003c\/strong\u003e\n    \u003cstrong\u003ece en forme de habanera\u003c\/strong\u003e (2:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix:  CAX\n    7749-1 [part] ∙ First issued on Columbia LX 575\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e6. \u003cstrong\u003eMILHAUD Le printemps,  Op. 18\u003c\/strong\u003e\n    (2:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 September 1926 in the Columbia Petty France  Studio, London ∙\n    Matrix: WAX 1929-1 ∙ First issued on Columbia L 1963\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e7. \u003cstrong\u003eMILHAUD (arr. L\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003evy) \n    Corcavado\u003c\/strong\u003e(No. 7 from Suadades  do Brasil, Op. 67)\u003cstrong\u003e\u003c\/strong\u003e(2:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 July 1926 in the Columbia Petty France Studio,  London ∙ Matrix:\n    WA 3587 ∙ First issued on Columbia D 1527\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e8. \u003cstrong\u003eMILHAUD (arr. L\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003evy) \n    Tijuca\u003c\/strong\u003e(No. 8 from  Suadades do Brasil, Op. 67)\u003cstrong\u003e\u003c\/strong\u003e(2:20)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 June 1927 in the Columbia Petty France Studio,  London ∙ Matrix:\n    WA 5792 ∙ First issued on Columbia D 1633\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e9. \u003cstrong\u003eLIE (arr. Szigeti)  \n    Sne\u003c\/strong\u003e(Snow)\u003cstrong\u003e\u003c\/strong\u003e(1:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix:  CA\n    16269-1 [part] ∙ First issued on Columbia LB 38\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e10.\n   \n        \u003cstrong\u003eSZYMANOWSKI Le fontaine  d’Arth\u003c\/strong\u003e\n    \n    \u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003euse\u003c\/strong\u003e(No. 1 from Mythes, Op. 30)\u003cstrong\u003e\u003c\/strong\u003e(5:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrices:  CAX\n    6851-1 \u0026amp; 6852-1 [part] ∙ First issued on Columbia LX 307\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e11.\n    \n        \u003cstrong\u003eSCRIABIN (arr. Szigeti)  Etude in D flat major,\u003c\/strong\u003e\n    \n    Op. 8, No. 10  (“Etude in Thirds”)  (1:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix:  CAX\n    7749-1 [part] ∙ First issued on Columbia LX  575\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e12.\n   \n        \u003cstrong\u003eSTRAVINSKY (arr. Stravinsky\/Dushkin)  Pastorale\u003c\/strong\u003e\n    \n    \u003cstrong\u003e\u003c\/strong\u003e(1:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrix:  CAX\n    6852-1 [part] ∙ First issued on Columbia LX 307\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e13.\n   \n        \u003cstrong\u003eSTRAVINSKY (arr. Dushkin)   Danse Russe from Petrushka\u003c\/strong\u003e\n \n    \u003cstrong\u003e\u003c\/strong\u003e(2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix:  CA\n    16270-2 ∙ First issued on Columbia LB 38\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e14.\n\n        \u003cstrong\u003ePROKOFIEV (arr. Grunes)   Gavotte from the “Classical” Symphony,\n        Op. 25\u003c\/strong\u003e\n\n    \u003cstrong\u003e\u003c\/strong\u003e(1:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix:  CA\n    16269-1 [part] ∙ First issued on Columbia LB 38\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cstrong\u003ePROKOFIEV Violin Concerto  No. 1\u003c\/strong\u003e\n    \u003cstrong\u003ein D major, Op. 19\u003cbr\u003e\u003c\/strong\u003e15.        1st  Mvt. – Andantino – Andante assai\n    (9:12)\u003cbr\u003e16.        2nd  Mvt. – Vivacissimo (3:57)\u003cbr\u003e17.        3rd  Mvt. – Andante – Allegro moderato\n    (7:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 August 1935 in Abbey Road Studio No. 1, London ∙  Matrices: CAX\n    7583-2, 7584-3, 7585-2, 7586-2 \u0026amp; 7587-2 ∙ First issued on  Columbia LX\n    433\/5\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003cp\u003e\u003cstrong\u003eNikita Magaloff\u003c\/strong\u003e, piano (Tracks 1 – 3, 5, 9 – 14)\u003cbr\u003e\u003cstrong\u003eKurt Ruhrseitz\u003c\/strong\u003e, piano (Tracks 4, 6 – 8)\u003cbr\u003e\u003cstrong\u003eSir Thomas Beecham ∙ \u003c\/strong\u003eLondon Philharmonic Orchestra (Tracks 15 – 17)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eCD 2  (71:10)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eBART\u003c\/strong\u003e\u003cstrong\u003eÓ\u003c\/strong\u003e\u003cstrong\u003eK\n    (arr. Szigeti) Hungarian Folk Tunes\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e(after For\n    Children)\u003cbr\u003e1.           1st  Mvt. – Parlando (1:02)\u003cbr\u003e2.           2nd  Mvt. – Andante non molto (1:10)\u003cbr\u003e3.           3rd  Mvt. – Allegro vivace (1:36)\u003cbr\u003e4.           4th  Mvt. – Andante sostenuto (1:31)\u003cbr\u003e5.           5th  Mvt. – Allegro (0:37)\u003cbr\u003e6.           6th  Mvt. – Andante (0:46)\u003cbr\u003e7.           7th  Mvt. – Poco vivace (0:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 January 1930 in the Columbia Petty France Studio,  London ∙\n    Matrices: WAX 5322-3 \u0026amp; 5323-2 ∙ First issued on Columbia LX 31\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eBART\u003c\/strong\u003e\u003cstrong\u003eÓ\u003c\/strong\u003e\u003cstrong\u003eK\n    (arr. Sz\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003ekely) Romanian Folk Dances\u003c\/strong\u003e,\u003cstrong\u003e\u003c\/strong\u003eSz.56 \n    (BB 68)\u003cbr\u003e8.           1st  Mvt. – Jocul cu bâtǎ  (Stick\n    Dance)  (1:09)\u003cbr\u003e9.           2nd  Mvt. – Brâul (Sash Dance)  (0:24)\u003cbr\u003e10.        3rd  Mvt. – Pe loc (In One Spot) (0:52)\u003cbr\u003e11.        4th  Mvt. – Buciumeana (Song of Buchumi)\n    (1:29)\u003cbr\u003e12.        5th  Mvt. – Poarga Româneascǎ (Romanian\n    Dance)  (0:31)\u003cbr\u003e13.        6th  Mvt. – Mǎrunţel  (Fast Dance)\n    (1:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 January 1930 in the Columbia Petty France Studio,  London ∙\n    Matrices: WA 9908-3 \u0026amp; 9909-4 ∙ First issued on Columbia LB 6\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e14. \u003cstrong\u003eBART\u003c\/strong\u003e\u003cstrong\u003eÓ\u003c\/strong\u003e\u003cstrong\u003eK \n    Portrait No. 1 –\u003c\/strong\u003eEgy idealis (One  Ideal), Op. 5, Sz.37  (9:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 June 1946 in in Abbey Road Studio No. 1, London ∙  Matrices: CAX\n    9568-1 \u0026amp; 9569-2 ∙ First issued on Columbia LX 1531\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eIVES Violin Sonata  No. 4\u003c\/strong\u003e,\n    “Children’s Day at the Camp Meeting”\u003cbr\u003e15.        1st  Mvt. – Allegro (1:54)\u003cbr\u003e16.        2nd  Mvt. – Largo – Allegro (5:12)\u003cbr\u003e17.        3rd  Mvt. – Allegro (1:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 February 1942 in New York City ∙ Matrices: ARS  2457A \u0026amp;\n    2458A ∙ First issued on New Music Quarterly Recordings 1612A\/B\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e18. \u003cstrong\u003eBLOCH Nigun\n    (Improvisation)\u003c\/strong\u003e(No. 2 from Baal Shem, B.47) (5:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 July 1926 in the Columbia Petty France Studio,  London ∙\n    Matrices: WA 3537-1 \u0026amp; 3538-1 ∙ First issued on Columbia D 1557\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eBLOCH Violin Concerto\u003c\/strong\u003e\n    \u003cstrong\u003e\n        in A minor\u003cbr\u003e\u003c\/strong\u003e19.        1st  Mvt. – Allegro deciso (18:15)\u003cbr\u003e20.        2nd  Mvt. – Andante (6:14)\u003cbr\u003e21.        3rd  Mvt. – Deciso (10:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 March 1939 in Studio Albert, Paris ∙  Matrices: CLX 2134-1,\n    2135-1, 2143-1, 2144-1, 2145-2, 2146-1, 2147-1 \u0026amp;  2148-2 ∙ First issued\n    on Columbia LX 819\/22\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003cstrong\u003eB\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003ela Bart\u003c\/strong\u003e\u003cstrong\u003eó\u003c\/strong\u003e\u003cstrong\u003ek\u003c\/strong\u003e, piano (Tracks 1 – 13)\u003cp\u003e\u003cstrong\u003eConstant Lambert \u003c\/strong\u003e· Philharmonia Orchestra (Track 14)\u003cbr\u003e\u003cstrong\u003eAndor Foldes\u003c\/strong\u003e, piano (Tracks 15 – 17)\u003cbr\u003e\u003cstrong\u003eKurt Ruhrseitz, piano \u003c\/strong\u003e(Track 18)\u003cbr\u003e\u003cstrong\u003eCharles Munch \u003c\/strong\u003e· Orchestre de la Société des Concerts du Conservatoire (Tracks 19 – 21)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eJoseph Szigeti\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 20px;\"\u003e, violin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer:  Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Charles Niss and James H. North for providing source material\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eTotal duration: 2hr 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39\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eLohengrin - Prelude\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde - Prelude and Liebestod\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 29:07\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrquesta Sinfónica de Venezuela \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC711.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe recordings presented in this series will document most of Jascha Horenstein’s appearances with the Orquesta Sinfónica de Venezuela (OSV). These took place during three visits to Caracas in 1954, 1955 \u0026amp; 1957. Venezuela was Horenstein’s eighth Latin American country after having toured the region extensively, and with great success, from the mid-1940s on. However of all the countries he visited, including Mexico and Argentina where he appeared most often, it was only in Venezuela and tiny Uruguay that recordings of his concerts were made and preserved, some of which are included in this series. Aside from the quality of the performances, criteria for inclusion included works that he recorded nowhere else, others that appear in stereo for the first time and others still that were first performances in Venezuela of now standard repertory, events always worthy of preservation no matter who the conductor. In Horenstein’s case these included the Venezuelan premieres of Mahler’s First Symphony, Bruckner's Third, Mahler's Fourth, Prokofiev's Fifth, Strauss’s Metamorphosen and Schoenberg’s Verklärte Nacht. Four of these premieres occurred during a single two week period in February 1957! Not fluent in Spanish nor always the most patient of men, Horenstein’s fifteen closed-door rehearsals must have been intense. The recordings in this series document most, but not all of his Venezuelan concerts.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCD1:\u003c\/b\u003e The coupling of Sibelius and the two works by Wagner, in the order published here, was Horenstein’s choice of program. It was the first OSV concert of his 1957 visit and the rapport between him and the orchestra was immediate, as is evident from the darkly majestic performance of Sibelius’s Second Symphony. Limitations of space prevented the inclusion of the Meistersinger Overture that concluded the concert. Of the four items played on that evening only the Lohengrin Prelude has been preserved in stereo.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCD2:\u003c\/b\u003e This collection reproduces in full Horenstein’s second OSV 1957 concert, given in Caracas a week after the first. The performance of Prokofiev’s Fifth Symphony, notable for the orchestra’s spirited playing and great flexibility, was a premiere for Venezuela and a Horenstein favourite. It is one of four recordings he made of the work, all highly expressionistic in style, and the only one preserved in stereo, as are all of the other items in this collection. The exception is the opening few bars of the slow introduction to the Mozart symphony. These were missing in the original source material and have been inserted by Pristine from another Horenstein recording in mono with quite remarkable results. Listeners will not easily identify the exact and subtly disguised moment of transition. We have justified this procedure by considering the interpretation of the rest of the symphony, fearless, feisty and dramatic even in the lyrical sections and a recording that deserves a place in any collection of Horenstein’s most successful performances. Its preservation in reasonably decent, well defined stereo sound was another consideration in its favour. \u003cbr\u003e\u003cbr\u003eOne might justifiably ask what possible value or interest could there be in a series of rather average recordings with a third tier orchestra lacking the refinements of sound and execution expected by today’s listeners, in works of now standard repertoire that are available in dozens of better sounding, better played versions, including some conducted by Horenstein himself? The answer is that his views of all these works, especially when captured live as here, remain engaging and highly absorbing no matter when or with whom he performed them, while his ability to inspire an orchestra he did not know well to cooperate with one mind and one heart, sometimes in music they did not know at all, is awe inspiring. There is a world-class feel to some of these performances that would make a good impression anywhere, and one readily forgives the mistakes and ragged execution, both musical and technical, when so much else is of such intense vitality and inspiration. \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eMisha Horenstein\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eHORENSTEIN in Venezuela Vol. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (61:35)\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2 in D major, Op. 43\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegretto  (10:00)\u003cbr\u003e2. 2nd mvt. - Tempo andante, ma rubato  (14:50)\u003cbr\u003e3. 3rd mvt. - Vivacissimo  (5:47)\u003cbr\u003e4. 4th mvt. - Finale: Allegro moderato  (14:04)\u003cbr\u003e\u003cbr\u003e5. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLohengrin\u003c\/span\u003e\u003cbr\u003ePrelude to Act 1  (9:30)\u003cbr\u003e\u003cbr\u003e6. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTristan und Isolde\u003c\/span\u003e\u003cbr\u003ePrelude and Liebestod  (17:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 25 January 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (77:32)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont, Op. 84\u003c\/span\u003e\u003cbr\u003eOverture  (9:05)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 39 in E-flat major, K.543\u003c\/span\u003e\u003cbr\u003e2. 1st mvt - Adagio; Allegro  (8:29)\u003cbr\u003e3. 2nd mvt - Andante con moto  (9:03)\u003cbr\u003e4. 3rd mvt - Menuetto e Trio  (3:56)\u003cbr\u003e5. 4th mvt - Allegro  (4:20)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5 in B-flat major, Op. 100\u003c\/span\u003e\u003cbr\u003e6. 1st mvt - Andante  (11:20)\u003cbr\u003e7. 2nd mvt - Allegro marcato  (8:43)\u003cbr\u003e8. 3rd mvt - Adagio  (12:25)\u003cbr\u003e9. 4th mvt - Allegro giocoso  (10:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 1 February 1957\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eOrquesta Sinfónica de Venezuela \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eJascha Horenstein\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eConcerts recorded in Caracas, Venezuela\u003cbr\u003e\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eArtwork based on photograph of Jascha Horenstein\u003cbr\u003eVery special thanks to Misha Horenstein for source recordings, artwork, notes and other assistance.\u003cbr\u003e\u003cbr\u003eN.B. 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1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:18\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVan Cliburn\u003c\/b\u003e, piano\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWalter Hendl \u0026amp; Fritz Reiner\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC716.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e1958 was a red-letter year for pianists. The first International Tchaikovsky Competition took place in Moscow and was won, unanimously and amid unprecedented publicity, by Van Cliburn of Texas. The Russians, who had designed the competition as a showcase for their own imperial talent were initially disgruntled, but dismay turned to awe and affection as they listened to a virtuoso whose massive tone worth its weight in gold - and romantic, free-wheeling temperament swept all before him . With characteristic bravado, jury member Sviatoslav Richter, ignoring rules and regulations, gave a hundred marks to Cliburn and zero to his rivals, baldly asserting, 'he's a pianist, the others are not'.\u003cbr\u003e\u003cbr\u003eToday the legend of that occasion lingers on, a confluence of Cold War politics and art subsumed by Cliburn's magnetism. The late Irina Zaritzka (herself a prize-winner, taking second place to Maurizio Pollini in the 1960 Chopin Competition in Warsaw) was present. 'For us Russians his way with Tchaikovsky and Rachmaninov in particular was uncanny. Such grandeur, romantic warmth and empathy. He came close to sentimentality, but never quite crossed the line. His playing had an extraordinary nobility. You can't even imagine the furore he caused and his playing is still endlessly discussed in Russia today.'\u003cbr\u003e\u003cbr\u003eThe Russians were prepared for limitations they associated with American pianists: a cold, athletic brilliance that placed pianistic command first and musical and human quality a poor second; what has been unkindly called 'the American crew-cut school' and 'broken-glass sound'. Cliburn's broad tempi, rhapsody and freedom gave them both a joyful and rude surprise.\u003cbr\u003e\u003cbr\u003eBack home a political as well as musical coup was celebrated. There was a ticker-tape Broadway parade, and record companies and managements battled for exclusive rights. Time magazine went to town, devoting a frontpage spread to their musical hero, describing him as 'Liberace and Horowitz all rolled into one, a gangling, blond six-footer as Texan as pecan pie'.\u003cbr\u003e\u003cbr\u003eSoon after this brouhaha, unknown since the days of Liszt, Paganini and Paderewski, Kiril Kondrashin (Cliburn's partner in the finals of the competition) flew to the US - less easy in those protocol-ridden, pre-glasnost days - to collaborate in performances and RCA recordings of his two 'star' concertos, Tchaikovsky 1 and Rachmaninov 3. The Tchaikovsky beat Elvis Presley in the charts and became the best-selling disc in the history of classical LPs. Reissued on CD it remains of classic status: magisterially paced, tonally effulgent and - ironically, given the surrounding circumstances - of a pure, unsullied musicianship.\u003cbr\u003e\u003cbr\u003eBut if Cliburn's was 'a patriotic success' (Leontyne Price) it was also an international one. For here was music perceived as a moral force or intervention, a reminder of higher goods than political dissent or expediency. In a world riven by the Cold War possibility of nuclear Armageddon, Cliburn's triumph on what was essentially alien territory lit a torch of peace rather than aggression. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eBryce Morrison\u003c\/b\u003e, \u003ci\u003eGramophone\u003c\/i\u003e, 2004\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVAN CLIBURN \u003c\/b\u003eRussian Piano Concertos\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 3 in C, Op. 26\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Andante. Allegro  (9:46)\u003cbr\u003e2. 2nd mvt. - Tema con variazioni  (10:03)\u003cbr\u003e3. 3rd mvt. - Allegro, ma non troppo  (10:19)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChicago Symphony Orchestra  \u003c\/b\u003e  \u003cbr\u003econducted by W\u003cb\u003ealter Hendl\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 2 in C minor, Op. 18\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato  (10:58)\u003cbr\u003e5. 2nd mvt. -  Adagio sostenuto  (11:27)\u003cbr\u003e6. 3rd mvt. - Allegro scherzando  (11:45)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChicago Symphony Orchestra  \u003c\/b\u003e  \u003cbr\u003econducted by \u003cb\u003eFritz Reiner\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eVan Cliburn\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Van Cliburn\u003cbr\u003e\u003cbr\u003e\u003cb\u003eProkofiev Concerto No. 3\u003c\/b\u003e\u003cbr\u003eRecorded 22 \u0026amp; 24 October, 1960\u003cbr\u003eOrchestra Hall, Chicago\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRachmaninov Concerto No. 2\u003c\/b\u003e\u003cbr\u003eRecorded 31 March \u0026amp; 2 April 1962\u003cbr\u003eOrchestra Hall, Chicago\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration: 64:18\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC716.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC716.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":47984773103950,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205511233870,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205511266638,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC716.jpg?v=1714104905"},{"product_id":"pasc716-cd","title":"VAN CLIBURN Prokofiev \u0026 Rachmaninov Piano Concertos (stereo, 1960 \u0026 1962) - 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excerpts\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:57\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC731.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (77:09)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e  (7:45)\u003cbr\u003e\u003cbr\u003e2. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e  (20:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Allegro  (3:14)\u003cbr\u003e4. 2nd mvt. - Larghetto  (3:39)\u003cbr\u003e5. 3rd mvt. - Gavotta  (1:26)\u003cbr\u003e6. 4th mvt. - Molto vivace  (2:58)\u003cbr\u003e\u003cbr\u003e7. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (10:40)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e8. 1. Andante con variazioni  (10:06)\u003cbr\u003e9. 2. Scherzo  (4:06)\u003cbr\u003e10. 3. Romance  (4:54)\u003cbr\u003e11. 4. Rondo  (8:08)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (78:48)\u003cbr\u003e\u003cbr\u003e1. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e  (8:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003cbr\u003e2. 1st mvt. - Moderato  (10:53)\u003cbr\u003e3. 2nd mvt. - Allegretto  (5:22)\u003cbr\u003e4. 3rd mvt. - Largo  (9:58)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e6. 1. Balletto detto 'Il Conte Orlando' (Molinaro)  (2:40)\u003cbr\u003e7. 2. Gagliarga (Galilei)  (3:57)\u003cbr\u003e8. 3. Villanella (Ignoto)  (5:38)\u003cbr\u003e9. 4. Passo mezzo e Mascherada (Ignoto)  (3:44)\u003cbr\u003e\u003cbr\u003e10. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIbéria - 3. 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studio recordings, 1955 \u0026amp; 1956\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 69:57\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIsaac Stern\u003c\/b\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC748.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eDimitri Mitropoulos's performance of Shostakovich's Symphony No. 10 with the New York Philharmonic in Athens on October 1, 1955, was both a musical and cultural landmark. Conducted in Athens's Orpheus Hall as part of the orchestra’s historic post-war European tour, the concert resonated deeply, not only due to the stature of the music but also because it marked a profoundly emotional homecoming for Mitropoulos himself, who served as musical director of the New York Philharmonic from 1949 to 1958.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eShostakovich's Tenth Symphony, completed shortly after Stalin's death in 1953, is renowned for its stark emotional intensity and complexity. Mitropoulos, famed for conducting entirely from memory and noted for his intensely physical approach, brought to this performance an unmistakable depth of expression. His interpretation reflected the tension, anguish, and tentative optimism embodied within Shostakovich's music. This symphony, with its brooding opening movement, vehement scherzo, reflective third movement, and ultimately triumphant finale, demanded a conductor capable of navigating profound emotional contrasts, a task perfectly suited to Mitropoulos’s temperament.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Greek conductor’s association with Shostakovich's Tenth was particularly apt; Mitropoulos’s own artistic personality mirrored the symphony's inner turmoil and eventual resolution. The Athens audience, aware of Mitropoulos's international acclaim and proud of his Greek heritage, responded enthusiastically to his emotionally charged leadership. The performance served as a symbolic moment of reconciliation and cultural rebuilding, occurring just a decade after the ravages of World War II and civil strife in Greece.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eCritical reception emphasized Mitropoulos’s remarkable ability to unify the orchestra into a cohesive, potent ensemble, highlighting the New York Philharmonic's capacity for nuanced expression. The emotional power of the symphony was intensified by the context: Mitropoulos’s return to his homeland was widely seen as a poignant reunion, infusing the performance with additional layers of meaning beyond the notes themselves.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003ePreserved in contemporary recordings, this interpretation remains a significant historical document, reflecting both the cultural importance of the event and Mitropoulos’s profound identification with Shostakovich's music. Today, this particular 1955 Athens concert performance is recognized not merely as a noteworthy musical event but as a compelling intersection of personal narrative, historical circumstance, and artistic excellence, capturing a conductor and orchestra at a moment of rare emotional and musical convergence.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eIn 1956, during his tenure as musical director, Mitropoulos recorded Prokofiev's Violin Concerto No. 1 with the New York Philharmonic, featuring the distinguished violinist Isaac Stern. Stern's performance, guided sensitively by Mitropoulos, is noted for its lyrical intensity, precise articulation, and richly expressive phrasing. The conductor's understanding of Prokofiev’s uniquely evocative orchestration and melodic textures complemented Stern’s virtuosity, creating a recording that remains highly regarded for its emotional depth and technical brilliance.\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMITROPOULOS \u003c\/b\u003econducts Shostakovich \u0026amp; Prokofiev\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 1 in D major, Op. 19\u003c\/span\u003e\u003cbr\u003e1. 1st mvt - Andantino  (8:59)\u003cbr\u003e2. 2nd mvt - Scherzo. Vivacissimo  (3:34)\u003cbr\u003e3. 3rd mvt - Moderato. Allegro moderato  (7:42)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIsaac Stern\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 February 1956, Columbia 30th Street Studios, New York City\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 10 in E minor, Op. 93\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato  (20:46)\u003cbr\u003e5. 2nd mvt. - Allegro  (3:35)\u003cbr\u003e6. 3rd mvt. - Allegro - Largo - Più mosso  (11:39)\u003cbr\u003e7. 4th mvt. - Andante - Allegro - L'istesso tempo  (13:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live on 2 October 1955, Orpheus Hall, Athens, Greece\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNew York Philharmonic\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Mitropoulos\u003cbr\u003e\u003cbr\u003eTotal duration:  69:57\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\/PASC748.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC748.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":53095065190734,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205504909646,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205504942414,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC748_2570f501-3004-4a3f-a42c-bf0e5abe01ce.jpg?v=1763114006"},{"product_id":"pasc748-cd","title":"MITROPOULOS conducts Shostakovich \u0026 Prokofiev (1955\/56) - 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Though very different in style and emotional climate, Prokofiev’s \u003cem data-start=\"709\" data-end=\"743\"\u003eViolin Concerto No. 2 in G minor\u003c\/em\u003e and Shostakovich’s \u003cem data-start=\"763\" data-end=\"790\"\u003eSymphony No. 5 in D minor\u003c\/em\u003e share a sense of tension between private feeling and public utterance — a conflict Mitropoulos was uniquely able to reveal.\u003c\/p\u003e\u003cp data-start=\"918\" data-end=\"1660\"\u003eBy 1952, Mitropoulos was in his fourth season as the orchestra’s music director, a post he had assumed in 1949 following a distinguished decade with the Minneapolis Symphony. His conducting combined fierce intellectual clarity with an almost mystical intensity of expression. A devout man with little concern for worldly display, he threw himself wholly into the music, conducting without baton and often without a score. Critics sometimes found his approach overwhelming; musicians, while challenged, often spoke of the profound sense of involvement he drew from them. Columbia Records, meanwhile, was keen to document his work in both the concert hall and the studio, making the present recordings valuable documents of his New York tenure.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ch4 data-start=\"1662\" data-end=\"1720\"\u003eProkofiev: Violin Concerto No. 2 in G minor, Op. 63\u003c\/h4\u003e\u003cp data-start=\"1721\" data-end=\"1775\"\u003e\u003cem data-start=\"1721\" data-end=\"1775\"\u003eZino Francescatti, violin — recorded 27 October 1952\u003c\/em\u003e\u003c\/p\u003e\u003cp data-start=\"1777\" data-end=\"2296\"\u003eProkofiev’s \u003cem data-start=\"1789\" data-end=\"1813\"\u003eSecond Violin Concerto\u003c\/em\u003e dates from 1935, a period of stylistic consolidation just before his final return to Soviet Russia. In contrast to the glittering modernism of his \u003cem data-start=\"1961\" data-end=\"1977\"\u003eFirst Concerto\u003c\/em\u003e and the ironic brilliance of the \u003cem data-start=\"2011\" data-end=\"2031\"\u003eClassical Symphony\u003c\/em\u003e, the \u003cem data-start=\"2037\" data-end=\"2045\"\u003eSecond\u003c\/em\u003e reveals a new lyricism and warmth — a neoclassical clarity tinged with wistfulness. Its themes are simple but haunting, its orchestration transparent, its harmonies tinged with a bittersweet ambiguity that would colour much of Prokofiev’s later work.\u003c\/p\u003e\u003cp data-start=\"2298\" data-end=\"2841\"\u003eZino Francescatti was one of the most refined violinists of his generation, admired for the silken beauty of his tone and the effortless grace of his phrasing. His collaboration here with Mitropoulos is a meeting of two strong musical personalities perfectly attuned to the work’s contrasting moods. The opening movement’s restless oscillation between melancholy and animation is shaped with a keen sense of line and structure. Francescatti’s playing combines elegance with steel, the cadenza integrated seamlessly into the musical argument.\u003c\/p\u003e\u003cp data-start=\"2843\" data-end=\"3485\"\u003eIn the central Andante assai, one of Prokofiev’s most memorable slow movements, the soloist’s lyrical eloquence finds an ideal partner in Mitropoulos’s sensitive support — the orchestral textures finely balanced, the phrases breathing with unforced naturalness. The finale, with its rhythmic drive and hints of Spanish colour (the concerto was composed for the Franco-Belgian violinist Robert Soetens, and premiered in Madrid), is propelled with irresistible energy. Francescatti’s virtuosity remains poised and crystalline even in the most fiery passages, while Mitropoulos ensures that the orchestral motor never loses its taut precision.\u003c\/p\u003e\u003cp data-start=\"3487\" data-end=\"3740\"\u003eThe result is a reading that stands among the most distinguished of its era — less flamboyant than Heifetz’s, less impetuous than Oistrakh’s, but possessed of a Gallic refinement and musical intelligence that reveal new facets of Prokofiev’s artistry.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ch4 data-start=\"3742\" data-end=\"3796\"\u003eShostakovich: Symphony No. 5 in D minor, Op. 47\u003c\/h4\u003e\u003cp data-start=\"3797\" data-end=\"3823\"\u003e\u003cem data-start=\"3797\" data-end=\"3823\"\u003eRecorded 1 December 1952\u003c\/em\u003e\u003c\/p\u003e\u003cp data-start=\"3825\" data-end=\"4460\"\u003eIf Prokofiev’s concerto suggests an artist reconciling personal expression with public expectation, Shostakovich’s \u003cem data-start=\"3940\" data-end=\"3956\"\u003eFifth Symphony\u003c\/em\u003e represents that struggle on an epic scale. Written in 1937 in the shadow of official condemnation for his opera \u003cem data-start=\"4069\" data-end=\"4094\"\u003eLady Macbeth of Mtsensk\u003c\/em\u003e, the symphony was presented as “a Soviet artist’s creative reply to just criticism”. Yet its apparent compliance with socialist-realist ideals — the triumphal finale, the clear tonal framework — conceals a far deeper and more tragic narrative. Beneath the outward heroism lies a sense of anguish and ironic defiance that has continued to provoke debate for decades.\u003c\/p\u003e\u003cp data-start=\"4462\" data-end=\"4857\"\u003eMitropoulos was one of the first Western conductors to grasp the symphony’s dual nature. His performances, whether in New York, Minneapolis or abroad, were renowned for their visceral intensity and moral conviction. The 1952 recording presented here — made just four years after his famous Carnegie Hall account that electrified American audiences — captures that fervour in concentrated form.\u003c\/p\u003e\u003cp data-start=\"4859\" data-end=\"5303\"\u003eFrom the opening’s jagged ostinato and bleakly rising string lines, the music unfolds with grim inevitability. Mitropoulos emphasises the symphony’s architectural cohesion, binding its four movements into a single arc of tension and release. The scherzo’s sardonic waltz rhythms bite sharply, yet are never caricatured; the Largo that follows is profoundly moving, the conductor drawing an almost vocal quality from the strings and woodwinds.\u003c\/p\u003e\u003cp data-start=\"5305\" data-end=\"5728\"\u003eThe finale’s march to “victory” is delivered with blazing intensity, but Mitropoulos resists empty bombast. His tempo broadens at the close, revealing not triumph but exhaustion — a shattering vision of forced jubilation that anticipates later readings by Bernstein and Mravinsky. The Philharmonic-Symphony Orchestra plays magnificently throughout, its brass section resplendent, its strings united in passionate unanimity.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ch4 data-start=\"5730\" data-end=\"5743\"\u003eLegacy\u003c\/h4\u003e\u003cp data-start=\"5745\" data-end=\"6312\"\u003eEarlier this year Pristine Classical marked the fiftieth anniversary of Shostakovich’s death with Mitropoulos’s live 1955 Athens performance of the \u003cem data-start=\"5893\" data-end=\"5909\"\u003eTenth Symphony\u003c\/em\u003e, and coupled it with his 1956 studio recording of Prokofiev’s \u003cem data-start=\"5972\" data-end=\"5995\"\u003eFirst Violin Concerto\u003c\/em\u003e featuring Isaac Stern (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc748\" target=\"_blank\"\u003ePASC 748\u003c\/a\u003e). Together with the present release, these recordings trace a compelling thread through the conductor’s repertoire: his empathy with twentieth-century Russian music, his refusal to simplify its emotional complexity, and his ability to communicate its drama with unflinching honesty.\u003c\/p\u003e\u003cp data-start=\"6314\" data-end=\"6491\"\u003eMitropoulos’s 1952 studio sessions remind us why he was revered by musicians and audiences alike — a conductor of burning conviction, fearless intellect, and boundless humanity.\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\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMITROPOULOS \u003c\/b\u003econducts Prokofiev \u0026amp; Shostakovich\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 2 in G minor, Op. 63\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro moderato  (10:17)\u003cbr\u003e2. 2nd mvt. - Andante assai  (8:48)\u003cbr\u003e3. 3rd mvt. - Allegro ben marcato  (6:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 October, 1952\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eZino Francescatti\u003c\/b\u003e, violin\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Allegro con fuoco  (16:52)\u003cbr\u003e5. 2nd mvt. - Grave  (5:13)\u003cbr\u003e6. 3rd mvt. - Intermezzo  (14:32)\u003cbr\u003e7. 4th mvt. - Finale (Allegro molto)  (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 December, 1952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eDmitri Mitropoulos\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Mitropoulos\u003cbr\u003eRecorded at Columbia 30th Street Studios, New York City\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  70:53\u003c\/b\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\/PASC754.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC754.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":54977131348302,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205503795534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205503828302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC754_6ccc547a-e278-4d83-8520-9bc132c5f6ed.jpg?v=1762266935"},{"product_id":"pasc754-cd","title":"MITROPOULOS conducts Prokofiev \u0026 Shostakovich (1952) - 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El Corpus en Sevilla\u003cbr\u003e\r\n\u003cb\u003eBACH\u003c\/b\u003e Toccata \u0026amp; Fugue in D minor\u003cbr\u003e\r\n\u003cb\u003eBACH\u003c\/b\u003e Two Chorales\u003cbr\u003e\r\n\u003cb\u003eBARBER\u003c\/b\u003e Symphony in One Movement\u003cbr\u003e\r\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003e\r\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\r\n\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Quartet No. 1\u003cbr\u003e\r\n\u003cb\u003eDEBUSSY\u003c\/b\u003e Prélude à l'après-midi d'un faune\u003cbr\u003e\r\n\u003cb\u003eDEBUSSY\u003c\/b\u003e Nuages \u0026amp; Fêtes\u003cbr\u003e\r\n\u003cb\u003eDOHNÁNYI\u003c\/b\u003e Suite for Orchestra\u003cbr\u003e\r\n\u003cb\u003eDVOŘÁK\u003c\/b\u003e Symphony No. 8\u003cbr\u003e\r\n\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Ludmila - Overture\u003cbr\u003e\r\n\u003cb\u003eHINDEMITH\u003c\/b\u003e Mathis der Maler Symphony\u003cbr\u003e\r\n\u003cb\u003eHUMPERDINCK\u003c\/b\u003e Hänsel und Gretel - Prelude\u003cbr\u003e\r\n\u003cb\u003ePROKOFIEV\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\r\n\u003cb\u003eRAVEL\u003c\/b\u003e Pavane pour une infante défunte\u003cbr\u003e\r\n\u003cb\u003eRESPIGHI\u003c\/b\u003e Ancient Airs and Dances\u003cbr\u003e\r\n\u003cb\u003eSCHREKER\u003c\/b\u003e Der Geburtstag der Infantin\u003cbr\u003e\r\n\u003cb\u003eSCRIABIN\u003c\/b\u003e Symphony No. 3\u003cbr\u003e\r\n\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\r\n\u003cb\u003eSTAROKADOMSKY\u003c\/b\u003e Concerto for Orchestra\u003cbr\u003e\r\n\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite\u003cbr\u003e\r\n\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Die Fledermaus - Overture\u003cbr\u003e\r\n\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Tales from the Vienna Woods\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also sprach Zarathustra\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Rosenkavalier Waltzes\u003cbr\u003e\r\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003cbr\u003e\r\n\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\r\n\u003cb\u003eVIVALDI\u003c\/b\u003e Concerto in D minor\u003cbr\u003e\r\n\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger - excerpts\u003cbr\u003e\r\n\u003cb\u003eWEBER\u003c\/b\u003e Oberon - Overture\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003eBroadcast recordings, 1938\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003eNBC Symphony Orchestra\u003cbr\u003e\r\nconducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC767.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003eArtur Rodzinski, one of the best program makers who has conducted this season at the symphony concerts in Radio City, led the NBC Symphony Orchestra last night in a program of which the principal feature was the tone poem of Richard Strauss, after Nietzsche, “Also sprach Zarathustra”.\u003cbr\u003e\u003cbr\u003eThe performance was one of exceptional brilliancy and one that displayed to very marked advantage the virtuosity of the orchestra. Aside from its interpretive merits, it may be said that a presentation of this music which displays so much certainty and such high technical quality is rare. Add to this the authority and the fire of the reading.\u003cbr\u003e\u003cbr\u003e“Zarathustra” is anything but a simple score to interpret. The conductor’s handicap from the aspect of concert effect is the faint and enigmatical conclusion. This can so easily become anti-climax, to say nothing of the mystifying effect of the strange harmonic scheme. But the audience responded last night to a work which formerly baffled the public with unstinted enthusiasm.\u003cbr\u003e\u003cbr\u003eAnd this is noteworthy: the music triumphed in the complete absence of any programmatic explanation. Explanatory paragraphs would have been wholly in order. Strauss himself affixed lines from Nietzsche's poem to his score. The audience deserves a program note when this work is played.\u003cbr\u003e\u003cbr\u003eThis does not lessen the music, but it can greatly conduce to a listener’s appreciation of the composer’s intention, if he knows, for example, that the magnificent introduction, which made Philip Hale think of “the portals of eternity swinging slowly asunder,” is Strauss’s evocation of the sunrise; that the pathetic and mystical passages immediately following, and the great hymn passionately intoned by organ and orchestra, is reference to religion upon which man pinned his faith; that the climax of frantic rejoicing while the great bell tolls in the orchestra is the song of Nietzsche’s victorious Over-man; and that the ending, in two keys, with the theme of Nature heard in the plucked basses, and the theme of the Ideal, like receding stars, soaring aloft, is Strauss’s comment upon the unsolvable riddle of the universe.\u003cbr\u003e\u003cbr\u003eBut the music made its mark and greatly moved the audience. It would have been still more imposing for those personally present if the performance had taken place in an auditorium with better acoustics than those of Studio H-8, which deadens sound and lessens the sonority of an orchestra. The effect of breadth as well as sheer body and brilliancy of sound in this place is thus modified, and blazing sonorities are part of the very conception of this score. But the effect was on the whole so adequate and eloquent that it would be captious to fuss over details. “Zarathustra” has waited longest of all Strauss’s tone-poems to come into its own. The sum of this occasion was a performances which carried it convincingly and in a very exciting way to the public.\u003cbr\u003e\u003cbr\u003eThe concert opened with the excellent Wertheim’s version of the Bach D minor Toccata and Fugue, a sonorous and effective performance of a masterpiece of universal meaning. After Strauss came the charming concert suite that Schrecker arranged from his ballet, “The Birthday of the Infanta.” It is not wildly modern music, nor highly original, but it is pleasing and admirably orchestrated material, put together with skill and taste by an expert craftsman.\u003cbr\u003e\u003cbr\u003eOther delightful music, more original than Schrecker’s, and destined to live much longer, completed the program and delighted the audience. The reference is to the overture to “Fledermaus” and the waltz “Tales From the Vienna Woods,” by Johann Strauss. He also could write music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 17 April 1938\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cdiv class=\"sleevenotes\"\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003cfont color=\"#731842\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eThe first of these two concert broadcasts was longer than usual, and the only way to fit it onto a CD was to lose one of the pieces. With the Glinka overture too short to make the difference, after much thought we decided that a forgotten work by a pretty much forgotten composer, \u003cb\u003eStarokadomsky’s Concerto for Orchestra\u003c\/b\u003e, would be cut from the CD release. This work is present in all download versions of this release, and all CD buyers receive a download link to the recording in MP3 versions should they wish to hear the missing concerto.\u003c\/font\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn December 1938 Artur Rodziński and the NBC Symphony Orchestra offered American radio audiences two exceptional programmes from Studio 8H in Radio City, separated by a single week but strikingly different in their musical terrain. Still early in the orchestra’s life, these broadcasts reveal an ensemble of formidable discipline and tonal punch, and a conductor whose flair for programming was matched by his ability to coax high-voltage playing from musicians already performing at the top of their game. Preserved on remarkably fine acetate discs and newly restored in Pristine’s XR and Ambient Stereo process, these concerts now emerge with a clarity, warmth and spatial naturalness that Studio 8H’s famously desiccated acoustic rarely allowed at the time.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The 10 December 1938 broadcast opened with Glinka’s evergreen \u003cem\u003eRuslan and Lyudmila\u003c\/em\u003e Overture. Contemporary reviews singled out its sparkling character and the orchestra’s brilliance, noting that despite the modest studio acoustics the execution was consistently impressive. Under Rodziński the overture becomes a showcase of tensile rhythmic drive and peerless ensemble precision. The NBC strings, already one of the most agile sections in the country, dispatch Glinka’s perpetual-motion writing with an ease that belies the difficulty of the music.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The centrepiece of that first broadcast was Tchaikovsky’s \u003cem\u003eSymphony No. 5\u003c\/em\u003e, a Rodziński speciality. Critics at the time praised his command of Tchaikovsky’s long spans and the orchestra’s powerful response, particularly in the sweeping finale. Rodziński shapes the symphony without indulgence: the opening motto is sombre yet flexible, the slow movement’s horn solo emerges with poised lyricism, the waltz glides without heaviness, and the finale surges with tightly controlled energy. These players may have been assembled for Toscanini, but in Rodziński they found a conductor who drew from them a comparable mixture of discipline and white-hot emotional commitment.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    That programme also included the American broadcast premiere of Mikhail Starokadomsky’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e, a 1933 work by a now little-known pupil of Myaskovsky. The score was described at the time as competently crafted and orchestrated with skill, even if its idiom owed more to Germanic symphonic practice than to the more modernistic Russian school. While the work’s historical footprint is small, its presence in this broadcast testifies to Rodziński’s willingness to present new Soviet repertoire to American listeners at a moment when few conductors were venturing far beyond the established Russian canon. Although too long to fit our CD programme, it is included complete in the download edition.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The concert closed with Stravinsky’s \u003cem\u003eFirebird\u003c\/em\u003e Suite, which listeners reported as having considerably enlivened the atmosphere despite the dryness of the broadcast studio. Rodziński’s performance is taut, colourful and intensely dramatic, the NBC brass and percussion delivering Stravinsky’s climaxes with thrilling impact. Even in the early years of high-fidelity broadcasting, the sheer blaze of this performance must have made a vivid impression on listeners.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    A week later, on 17 December 1938, Rodziński returned to Studio 8H with an entirely new programme, later reviewed in the New York Times’ “Other Music” column. The broadcast opened with Dvořák’s Symphony No. 4 — the work now recognised as his Eighth — already a favourite in the concert hall by that time. The critic praised the NBC Symphony’s “strong, clear and brilliant” playing, noting especially the finely balanced winds and the orchestra’s rhythmic vitality in a score whose pastoral lyricism can so easily turn heavy-handed. Rodziński gives the symphony a firm architectural profile, shaping its buoyant themes with affection but without sentimentality.\u003c\/p\u003e\n\n  \u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony followed, a bold choice in 1938 when the composer was at the centre of cultural controversy in Europe. Reviews highlighted the NBC Symphony’s splendid discipline and the work’s vivid colour and firm structure under Rodziński, whose affinity for Hindemith’s muscular counterpoint is audible throughout. Far from the austerity sometimes associated with the composer, Rodziński finds warmth and expressive breadth in the score, especially in the luminous “Engelkonzert” movement.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    The second broadcast concluded with Richard Strauss’s \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, played with élan, razor-sharp precision and a wicked sense of humour. Contemporary accounts praised the performance’s personality and momentum, noting the orchestra’s quick responsiveness to Rodziński’s characterisation of Strauss’s mercurial antihero.\n  \u003c\/p\u003e\n\n  \u003cp\u003e\n    For these restorations Pristine has employed its XR remastering and Ambient Stereo techniques to address the inherent limitations of Studio 8H’s bone-dry acoustics. Wow and flutter have been eliminated, tonal edges softened, and a sympathetic convolution reverb drawn from one of the world’s finest symphonic halls has been added to restore a sense of breadth and natural resonance. The result is a pair of broadcasts that emerge with new presence and musical richness, preserving the sound of a great orchestra under an electrifying conductor at a pivotal moment in American radio history.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eBy the late 1930s the National Broadcasting Company had created something unprecedented in American musical life: a full-time symphony orchestra assembled specifically for radio. The NBC Symphony Orchestra was formed in 1937 primarily for the broadcasts of Arturo Toscanini, but before Toscanini’s first appearance on Christmas Day of that year the orchestra needed to be tested, disciplined and moulded into a working ensemble. That crucial preparatory work fell largely to the Polish conductor Artur Rodziński.\u003c\/p\u003e\n\n\u003cp\u003eRodziński had already established a formidable reputation in the United States through his transformative leadership of the Cleveland Orchestra. NBC engaged him first for a trial broadcast in November 1937, followed by three concerts in December that effectively served as the orchestra’s public dress rehearsal before Toscanini assumed the podium. Rodziński returned to conduct further NBC Symphony broadcasts in April 1938 and again in December of the same year. The present recordings preserve the last two of four concerts he conducted on consecutive weekends that December.\u003c\/p\u003e\n\n\u003cp\u003eThese broadcasts therefore represent the closing chapter of Rodziński’s brief but significant association with the NBC Symphony Orchestra. The New Year’s Eve programme heard here would prove to be the final concert he conducted with the ensemble.\u003c\/p\u003e\n\n\u003cp\u003eThe Christmas Eve broadcast opens atmospherically with the Prelude to Humperdinck’s \u003cem\u003eHänsel und Gretel\u003c\/em\u003e, music whose luminous orchestral writing made it a favourite seasonal curtain-raiser. From there Rodziński turns to Johann Sebastian Bach as orchestrated by Ottorino Respighi. Respighi’s Bach transcriptions were widely admired in the early twentieth century for their rich orchestral palette, and here two chorales from the set of \u003cem\u003eThree Chorales\u003c\/em\u003e were performed: \u003cem\u003eNun komm, der Heiden Heiland\u003c\/em\u003e and \u003cem\u003eWachet auf, ruft uns die Stimme\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe central work of the programme is Beethoven’s First Symphony, music that bridges the Classical world of Haydn and Mozart with the emerging individuality that would soon transform the symphonic form. Rodziński follows it with one of the most striking orchestral transformations of the twentieth century: Arnold Schoenberg’s orchestration of Brahms’s Piano Quartet in G minor. Schoenberg explained that one reason for making the arrangement was that he wanted to hear everything in Brahms’s densely written score more clearly than was possible in the original chamber version. The result is a dazzling re-imagining of the work in which Brahmsian architecture is expanded into a vibrant orchestral showpiece.\u003c\/p\u003e\n\n\u003cp\u003eThe New Year’s Eve broadcast presents an equally colourful programme. It begins with Alexander Siloti’s orchestral arrangement of a concerto from Antonio Vivaldi’s \u003cem\u003eL’estro armonico\u003c\/em\u003e. Siloti’s late-Romantic treatment of the Baroque original reflects the era’s fascination with adapting earlier music to the modern symphony orchestra.\u003c\/p\u003e\n\n\u003cp\u003eFrom there Rodziński launches into Alexander Scriabin’s Third Symphony, \u003cem\u003eLe Divin Poème\u003c\/em\u003e, a vast mystical canvas whose ecstatic climaxes and shimmering orchestration stand at the threshold of musical modernism. Scriabin’s ecstatic vision is followed by a sequence of orchestral miniatures: Ravel’s nostalgic \u003cem\u003ePavane pour une infante défunte\u003c\/em\u003e and two movements from Debussy’s \u003cem\u003eNocturnes\u003c\/em\u003e, \u003cem\u003eNuages\u003c\/em\u003e and the exuberant \u003cem\u003eFêtes\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eThe concert concludes in celebratory fashion with the first waltz sequence from Richard Strauss’s \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e, music whose swirling Viennese rhythms provided a fitting close to a New Year’s Eve broadcast.\u003c\/p\u003e\n\n\u003cp\u003eThe original transmissions were introduced by NBC announcer Gene Hamilton. His commentary survives in full on the source recordings, but because the complete broadcasts run slightly longer than a standard compact disc allows, much of this material has been edited here in order to accommodate the music within a single CD. Short excerpts of Hamilton’s introductions to the Christmas Eve concert and his closing remarks at the end of the New Year’s Eve broadcast have been retained.\u003c\/p\u003e\n\n\u003cp\u003eDespite their broadcast origins the surviving recordings are remarkable for their warmth, dynamic range and clarity. In these new XR remasterings the sound reveals impressive orchestral colour, with quiet surfaces and extended frequency range that allow Rodziński’s incisive conducting and the NBC Symphony Orchestra’s brilliance to emerge with striking immediacy.\u003c\/p\u003e\n\n\u003cp\u003eThese final NBC broadcasts not only complete Rodziński’s recorded association with the orchestra but also offer a vivid glimpse of American orchestral broadcasting at the end of the 1930s.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (77:09)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e  (7:45)\u003cbr\u003e\u003cbr\u003e2. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e  (20:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Allegro  (3:14)\u003cbr\u003e4. 2nd mvt. - Larghetto  (3:39)\u003cbr\u003e5. 3rd mvt. - Gavotta  (1:26)\u003cbr\u003e6. 4th mvt. - Molto vivace  (2:58)\u003cbr\u003e\u003cbr\u003e7. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (10:40)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e8. 1. Andante con variazioni  (10:06)\u003cbr\u003e9. 2. Scherzo  (4:06)\u003cbr\u003e10. 3. Romance  (4:54)\u003cbr\u003e11. 4. Rondo  (8:08)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (78:48)\u003cbr\u003e\u003cbr\u003e1. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e  (8:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003cbr\u003e2. 1st mvt. - Moderato  (10:53)\u003cbr\u003e3. 2nd mvt. - Allegretto  (5:22)\u003cbr\u003e4. 3rd mvt. - Largo  (9:58)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e6. 1. Balletto detto 'Il Conte Orlando' (Molinaro)  (2:40)\u003cbr\u003e7. 2. Gagliarga (Galilei)  (3:57)\u003cbr\u003e8. 3. Villanella (Ignoto)  (5:38)\u003cbr\u003e9. 4. Passo mezzo e Mascherada (Ignoto)  (3:44)\u003cbr\u003e\u003cbr\u003e10. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIbéria - 3. El Corpus en Sevilla\u003c\/span\u003e  (8:46)\u003cbr\u003e\u003cbr\u003e11. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e: Prelude to Act III - Dance of the Apprentices - Finale  (12:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eNBC Symphony Orchestra    \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eArtur Rodziński\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 35:56\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. RADIO Introduction  (1:25)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e (arr. Wertheim) Toccata and Fugue in D minor, BWV 565\u003c\/span\u003e\u003cbr\u003e2. Toccata  (2:57)\u003cbr\u003e3. Fugue  (6:05)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Also Sprach Zarathustra, Op. 30\u003c\/span\u003e\u003cbr\u003e4. Einleitung  (2:10)\u003cbr\u003e5. Von den Hinterweltlern  (3:38)\u003cbr\u003e6. Von der grossen Sehnsucht  (1:58)\u003cbr\u003e7. Von den Freuden-und Leidenschaften  (1:56)\u003cbr\u003e8. Das Grablied  (2:12)\u003cbr\u003e9. Von der Wissenschaft  (4:34)\u003cbr\u003e10. Der Genesende  (5:38)\u003cbr\u003e11. Das Tanzlied  (5:46)\u003cbr\u003e12. Nachtwandlerlied  (6:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHREKER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Geburtstag der Infantin - Suite\u003c\/span\u003e\u003cbr\u003e13. 1. Reigen  (1:47)\u003cbr\u003e14. 2. Aufzug und kampfspiel  (2:11)\u003cbr\u003e15. 3. Die Marionetten  (2:49)\u003cbr\u003e16. 4. Minuett der Tanzerknaken  (2:11)\u003cbr\u003e17. 5. Die Tanze der Zwerges  (0:15)\u003cbr\u003e18. 6. Mit der Wind im Fruhling  (0:53)\u003cbr\u003e19. 7. In blauen Sandalen uber das korn  (1:52)\u003cbr\u003e20. 8. Im roten Gewand im herbst  (1:23)\u003cbr\u003e21. 9. Die Rose der Infatin  (3:41)\u003cbr\u003e\u003cbr\u003e22. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ STRAUSS II \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Fledermaus - Overture\u003c\/span\u003e  (8:14)\u003cbr\u003e\u003cbr\u003e23. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tales from the Vienna Woods\u003c\/span\u003e  (7:05)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recording, 16 April 1938, Studio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  77:31\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (75:27)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e2. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLINKA \u003c\/b\u003eRuslan and Lyudmila - Overture\u003c\/span\u003e  (5:44)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E Minor, Op. 64\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Andante - Allegro con anima  (14:10)\u003cbr\u003e4. 2nd mvt. - Andante cantabile con alcuna licenza  (13:05)\u003cbr\u003e5. 3rd  mvt. - Valse. Allegro moderato  (5:48)\u003cbr\u003e6. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:57)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTAROKADOMSKY \u003c\/b\u003eConcerto For Orchestra \u003cfont color=\"#731842\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003e[\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eDOWNLOADS ONLY\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e]\u003c\/span\u003e\u003c\/i\u003e\u003c\/font\u003e\u003c\/span\u003e\u003cbr\u003e1st mvt. - Sinfonia (3:41)\u003cbr\u003e2nd mvt. - Passacaglia (8:12)\u003cbr\u003e3rd mvt. - Toccata (6:34)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Firebird (Suite)\u003c\/span\u003e\u003cbr\u003e7. Introduction  (3:46)\u003cbr\u003e8. Dance of the Firebird  (1:15)\u003cbr\u003e9. Dance of the Princesses  (4:52)\u003cbr\u003e10. The Infernal Dance of King Kashchei  (3:51)\u003cbr\u003e11. Berceuse (Lullaby of the Firebird)  (3:25)\u003cbr\u003e12. Finale  (5:42)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (79:39)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003eRADIO \u003c\/b\u003eIntroduction  (1:52)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. No. 8 in G major, Op. 88\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (9:45)\u003cbr\u003e3. 2nd mvt. - Adagio  (10:01)\u003cbr\u003e4. 3rd mvt. - Allegretto grazioso – Molto Vivace  (5:48)\u003cbr\u003e5. 4th mvt. - Allegro ma non troppo  (11:23)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Engelkonzert  (9:07)\u003cbr\u003e7. 2nd mvt. - Grablegung  (4:31)\u003cbr\u003e8. 3rd mvt. - Versuchung des heiligen Antonius  (13:03)\u003cbr\u003e\u003cbr\u003e9.\u003cspan style=\"font-size: 18px;\"\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e  (14:09)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 10 \u0026amp; 17 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 55:37 (CDs: 2hr 35:07)\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eRODZINSKI NBC 1938, Volume 4\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003edisc one (79:45)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e1. RADIO Introduction to Christmas Eve Program (0:28)\u003c\/p\u003e\n\n\u003cp\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eHUMPERDINCK\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Hänsel und Gretel - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude\u003c\/span\u003e\u003c\/em\u003e (8:00)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Respighi) Chorales from the \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrgelbüchlein\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\n3. Nun komm, der Heiden Heiland, BWV 659 (5:38)\u003cbr\u003e\n4. Wachet auf, ruft uns die Stimme, BWV 645 (4:10)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 1 in C major, Op. 21\u003c\/span\u003e\u003cbr\u003e\n5. 1st mvt. - Adagio molto - Allegro con brio (6:46)\u003cbr\u003e\n6. 2nd mvt. - Andante cantabile con moto (6:56)\u003cbr\u003e\n7. 3rd mvt. - Menuetto: Allegro molto e vivace (3:27)\u003cbr\u003e\n8. 4th mvt. - Finale: Adagio - Allegro molto e vivace (5:43)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Schoenberg) Piano Quartet No. 1 in G minor, Op. 25\u003c\/span\u003e\u003cbr\u003e\n9. 1st mvt. - Allegro (13:44)\u003cbr\u003e\n10. 2nd mvt. - Intermezzo: Allegro ma non troppo - Trio: Animato (8:51)\u003cbr\u003e\n11. 3rd mvt. - Andante con moto (8:35)\u003cbr\u003e\n12. 4th mvt. - Rondo alla zingarese: Presto (7:26)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003edisc two (78:01)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eVIVALDI\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Siloti) Concerto in D minor\u003c\/span\u003e\u003cbr\u003e\nfrom \u003cem\u003eL’estro armonico\u003c\/em\u003e, Op. 3 No. 11, RV 565\u003cbr\u003e\n1. 1st mvt. - Allegro (5:33)\u003cbr\u003e\n2. 2nd mvt. - Adagio e spiccato (4:37)\u003cbr\u003e\n3. 3rd mvt. - Allegro (3:22)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCRIABIN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3 in C minor, Op. 43 - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Divin Poème\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\n4. 1st mvt. - Lutte (17:05)\u003cbr\u003e\n5. 2nd mvt. - Voluptés (8:11)\u003cbr\u003e\n6. 3rd mvt. - Jeu divin (9:47)\u003c\/p\u003e\n\n\u003cp\u003e7. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Pavane pour une infante défunte\u003c\/span\u003e (6:17)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e Nocturnes\u003c\/span\u003e\u003cbr\u003e\n8. Nuages (8:35)\u003cbr\u003e\n9. Fêtes (6:01)\u003c\/p\u003e\n\n\u003cp\u003e10. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e Waltzes - First sequence\u003c\/span\u003e (7:55)\u003c\/p\u003e\n\n\u003cp\u003e11. RADIO Conclusion to New Year's Eve Program (0:38)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\nconducted by Artur Rodziński\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 20px;\"\u003e\n\n\u003c\/span\u003e\u003cp\u003eXR remastering by: Andrew Rose\u003cbr\u003e\nLive broadcast recordings, 24 \u0026amp; 31 December 1938\u003cbr\u003e\nStudio 8H, NBC Radio City, New York\u003cbr\u003e\nCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTotal duration:\u003c\/strong\u003e 2hr 37:46\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABX049.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59122623021390,"sku":null,"price":128.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59122623054158,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59122623086926,"sku":null,"price":72.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049.jpg?v=1773402612"},{"product_id":"pabx049-cd","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - 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\u003ci\u003eexcerpts\u003c\/i\u003e\u003cbr\u003e\r\n\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Song of the Nightingale - \u003ci\u003eexcerpts\u003c\/i\u003e\u003cbr\u003e\r\n\u003cb\u003ePROKOFIEV\u003c\/b\u003e The Love for Three Oranges - \u003ci\u003eexcerpts\u003c\/i\u003e\u003cbr\u003e\r\n\u003cb\u003ePROKOFIEV\u003c\/b\u003e Le pas d’acier - \u003ci\u003eexcerpts\u003c\/i\u003e\u003cbr\u003e\r\n\u003cb\u003eHOLST\u003c\/b\u003e The Planets - \u003ci\u003eexcerpts\u003c\/i\u003e\u003cbr\u003e\r\n\u003cb\u003eHOLST\u003c\/b\u003e The Perfect Fool - Ballet Music\u003cbr\u003e\r\n\u003cb\u003eBAX\u003c\/b\u003e Mater ora Filium\u003cbr\u003e\r\n\u003cb\u003eRESPIGHI\u003c\/b\u003e The Fountains of Rome\u003cbr\u003e\r\n\u003cb\u003eRAVEL\u003c\/b\u003e La valse\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003eRecorded 1920–1932\u003cbr\u003e\r\nTotal duration: 2hr 1:42\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003cbr\u003e\r\nSymphony Orchestra\u003cbr\u003e\r\nLeeds Festival Choir\u003c\/b\u003e\u003cbr\u003e\r\n\u003cb\u003eAlbert Coates\u003c\/b\u003e, conductor\u003c\/span\u003e\u003cspan style=\"font-size:12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC768.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhile Albert Coates has long been associated with Wagner and Russian music of the Romantic era, his championing of contemporary music has been less recognized, particularly in the area of recording reissues. The current release addresses this by presenting all of his recordings of Stravinsky and Ravel which have not already appeared on Pristine along with his complete recordings of works by Scriabin, Prokofiev, Holst, Bax and Respighi. Some of the works were last reissued nearly half a century ago on LP, while others are being revived here for the first time.\u003c\/p\u003e\n\n\u003cp\u003eAt a time when Columbia did not have a single Beethoven symphony in its catalog, it is remarkable that the label brought out a complete recording on three discs of a then-challenging contemporary work by Scriabin, \u003ci\u003eThe Poem of Ecstasy\u003c\/i\u003e. In the event, it was not quite complete. At the break between Sides 4 and 5 (15:44 in the track), 19 bars totaling around a minute of music from Figure 30 to 32 in the score are missing. It was less likely an intentional cut than an oversight, as the music could have fit on either side. Sides 3 and 4 were first recorded a week after the others, and it is likely that Coates and the session producer forgot where Side 5 had begun and inadvertently left the bars out. Although one gets a general idea of Coates’ approach, the acoustic process could not really do justice to this colorful score, and it is a shame that he never got to re-record it electrically.\u003c\/p\u003e\n\n\u003cp\u003eCoates had previously recorded the 1911 version of Stravinsky’s \u003ci\u003eFirebird Suite\u003c\/i\u003e acoustically in 1924 (reissued on Pristine PASC 303). This electric remake of two of the numbers generates a great deal of excitement, although the orchestral choirs in the “Infernal Dance” are noticeably out-of-sync at some points. Coates’ single disc of \u003ci\u003eThe Song of the Nightingale\u003c\/i\u003e is labeled “Chinese March”, although here this section appears between the opening “Celebration” music and the last minute or so of the final segment, the “Funeral March”. Those following the score will note that Coates takes a repeat starting around 2:20 in the first section, incorporating music which does not appear elsewhere; and in the last section, the flute phrase two bars before Figure 96 is transposed upward by a full tone.\u003c\/p\u003e\n\n\u003cp\u003eCoates’ disc of music from \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e was the first recording of any Prokofiev orchestral music ever made, predating Koussevitzky’s more famous first Boston version by two years. The composer’s \u003ci\u003eLe pas d’acier\u003c\/i\u003e (most helpfully translated as \u003ci\u003eThe Dance of Steel\u003c\/i\u003e) was a ballet containing descriptive scenes in a Soviet foundry. One of Coates’ last recordings for HMV, it was taken down complete; but the two sides containing numbers 7 through 9 of the score were never released.\u003c\/p\u003e\n\n\u003cp\u003eSir Adrian Boult’s long association with Holst’s \u003ci\u003eThe Planets\u003c\/i\u003e has obscured the work’s connection to Coates; but while Boult conducted the first (incomplete) performance to a privately-invited audience in 1918, Coates presented the first public performance with the LSO in 1920. Six years later, he recorded the four movements presented here with essentially the same ensemble. Coates’ “Mars” is taken at a much faster clip than most performances, while the central section of his “Jupiter” is, by contrast, broadly paced, with an affectionate nobility that Elgar might have envied.\u003c\/p\u003e\n\n\u003cp\u003eWhile Coates made several discs of operatic choruses by Wagner, Mussorgsky and others, Bax’s \u003ci\u003eMater ora Filium\u003c\/i\u003e was his only recording as director of an a cappella choir. It was one of the earliest electrical recordings HMV made outside their studios. \u003ci\u003eThe Fountains of Rome\u003c\/i\u003e was the first recording of any of Respighi’s “Roman Trilogy”, besting Molajoli’s version by nine months.\u003c\/p\u003e\n\n\u003cp\u003eCoates had previously recorded Ravel’s \u003ci\u003eMa mère l’Oye Suite\u003c\/i\u003e acoustically (PASC 303) before making the première recording of his \u003ci\u003eLa valse\u003c\/i\u003e (which, oddly, was not released in the UK). It showcases a brilliant performance of great energy and detail, in sound that utterly belies its one hundred years.\u003c\/p\u003e\n\n\u003cp\u003e\u003ci\u003e\u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCOATES \u003c\/b\u003econducts 20th Century Music\u003c\/span\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e (57:21)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e1. \u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e The Poem of Ecstasy, Op. 54 \u003cspan style=\"font-size:14px;\"\u003e(1905–08)\u003c\/span\u003e (19:10)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 27 April \u0026amp; 7 May 1920, Columbia Clerkenwell Road Studio, London · Matrices: 74060-2, 74061-2, 74081-1, 74082-2 \u0026amp; 74062-1 · First issued on Columbia L 1380\/2\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e The Firebird \u003cspan style=\"font-size:14px;\"\u003e(1910)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n2. The Princesses’ Game with the Golden Apples (2:38)\u003cbr\u003e\n3. Infernal Dance of All Kashchei’s Subjects (4:15)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 15 February 1928, Kingsway Hall, London · Matrices: CR 1693-1 \u0026amp; 1692-2A · First issued on HMV D 1510\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Song of the Nightingale (\u003ci\u003eexcerpts\u003c\/i\u003e) \u003cspan style=\"font-size:14px;\"\u003e(1914–21)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n4. Celebration at the Palace of the Emperor of China (3:41)\u003cbr\u003e\n5. Chinese March (3:16)\u003cbr\u003e\n6. Funeral March (\u003ci\u003econclusion\u003c\/i\u003e) (1:21)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 14 October 1930, Kingsway Hall, London · Matrices: Cc 20615-2 \u0026amp; 20614-2 · First issued on HMV D 1932\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e The Love for Three Oranges, Op. 33 \u003cspan style=\"font-size:14px;\"\u003e(1921)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n7. Infernal Scene (2:47)\u003cbr\u003e\n8. March (1:42)\u003cbr\u003e\n9. Scherzo (1:20)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 6 January 1927, Kingsway Hall, London · Matrices: CR 904-2 \u0026amp; 905-2A · First issued on HMV D 1259\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e Le pas d’acier, Op. 41 \u003cspan style=\"font-size:14px;\"\u003e(1926)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n10. Entrance of the characters (2:08)\u003cbr\u003e\n11. The train of trading peasants (2:12)\u003cbr\u003e\n12. The commissars (1:52)\u003cbr\u003e\n13. The little street vendors (1:54)\u003cbr\u003e\n14. The orator (1:54)\u003cbr\u003e\n15. The sailor with bracelets and the working girl (2:19)\u003cbr\u003e\n16. The hammers (1:34)\u003cbr\u003e\n17. Finale (3:08)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 18 February 1932, Abbey Road Studio No. 1, London · Matrices: 2B 2199-2, 2200-2, 2801-2 \u0026amp; 2804-1 · First issued on HMV DB 1680\/1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e (64:21)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eHOLST\u003c\/b\u003e The Planets, Op. 32 \u003cspan style=\"font-size:14px;\"\u003e(1914–17)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n1. Mars, the Bringer of War (6:02)\u003cbr\u003e\n2. Mercury, the Winged Messenger (3:34)\u003cbr\u003e\n3. Jupiter, the Bringer of Jollity (7:24)\u003cbr\u003e\n4. Uranus, the Magician (5:24)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 20 September 1926, Kingsway Hall, London · Matrices: CR 694-1 \u0026amp; 695-1 (Mars), 693-2 (Mercury), 689-1A \u0026amp; 690-1 (Jupiter), 691-2 \u0026amp; 692-1 (Uranus) · First issued on HMV D 2006 (Mars), D 1308 (Mercury), D 1129 (Jupiter), D 1384 (Uranus)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eHOLST\u003c\/b\u003e The Perfect Fool – Ballet Music, Op. 39 \u003cspan style=\"font-size:14px;\"\u003e(1918–22)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n5. Introduction – Dance of Spirits of Earth (3:31)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 20 September 1926, Kingsway Hall, London · Matrix: CR 699-2\u003c\/span\u003e\u003cspan style=\"font-size:12px;\"\u003e · First issued on \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eHMV D 1308\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e6. \u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eBAX\u003c\/b\u003e Mater ora Filium \u003cspan style=\"font-size:14px;\"\u003e(1921)\u003c\/span\u003e (11:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 28 October 1925, St John’s Church, St John’s Wood, London · Matrices: CR 4-1, 5-2 \u0026amp; 6-1 · First issued on HMV D 1044\/5\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e The Fountains of Rome \u003cspan style=\"font-size:14px;\"\u003e(1916)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n7. The Fountain of Valle Giulia at Dawn (4:07)\u003cbr\u003e\n8. The Triton Fountain in the Morning (2:30)\u003cbr\u003e\n9. The Trevi Fountain at Noon (3:24)\u003cbr\u003e\n10. The Villa Medici Fountain at Sunset (5:56)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 4 January 1927 \u0026amp; 5 January 1928 · Matrices: CR 894-1, 895-1A, 896-2 \u0026amp; 897-2A · First issued on HMV D 1429\/30\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e11. \u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e La valse \u003cspan style=\"font-size:14px;\"\u003e(1919–20)\u003c\/span\u003e (11:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 26 March 1926, Queen’s Hall, London · Matrices: CR 214-1, 215-1 \u0026amp; 216-1 · First issued on Victor 9130\/1\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e (CD 1; CD 2, tracks 7–10)\u003cbr\u003e\n\u003cb\u003eSymphony Orchestra \u003c\/b\u003e(CD 2, tracks 1–5 \u0026amp; 11)\u003cb\u003e\u003cbr\u003e\nLeeds Festival Choir \u003c\/b\u003e(CD 2, track 6)\u003cbr\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer:  \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eAlbert Coates\u003c\/b\u003e\u003cbr\u003eSpecial thanks to the late Don Tait for records from his collection\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 1:42\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC768.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC768.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":59194756268366,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":59194756301134,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC768.jpg?v=1774267234"},{"product_id":"pasc768-cd","title":"COATES conducts 20th Century Music (1920-32) - PASC768 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC768.mp3","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":59234389983566,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":59234390016334,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC768_6e9b8100-e699-444a-b48f-fc0f71cce62d.jpg?v=1774254787"},{"product_id":"pacm132","title":"MENUHIN Contemporary Violin Sonatas: Bartók, Prokofiev (1947\/48) - PACM132","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eSonata for Solo Violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Sonata No. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1947\/48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 53:04\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eYehudi Menuhin\u003c\/b\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMarcel Gazelle\u003c\/b\u003e, piano\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM132.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv style=\"font-size:16px;\"\u003e\nIn the years immediately following the Second World War, Yehudi Menuhin found himself at the forefront of a new and demanding repertoire for the violin. The two works brought together on this recording, by Béla Bartók and Sergei Prokofiev, stand among the most searching and uncompromising contributions to the instrument’s twentieth-century literature. Both were written during periods of profound upheaval, and reflect in very different ways the tensions of their time.\n\u003cbr\u003e\u003cbr\u003e\nBartók’s Sonata for Solo Violin occupies a unique place in Menuhin’s career. The work was composed in 1944 at Menuhin’s request, and he gave its first performance in New York on 26 November of that year. Bartók died less than a year later, leaving the sonata as one of his final completed works. Menuhin returned to it in June 1947 at Abbey Road, setting down what appears to be the first recording of the work. As such, this performance stands not merely as an early document, but as a direct continuation of the composer-performer relationship from which the sonata itself had emerged.\n\u003cbr\u003e\u003cbr\u003e\nThe sonata’s four movements - \u003ci\u003eTempo di ciaccona\u003c\/i\u003e, \u003ci\u003eFuga\u003c\/i\u003e, \u003ci\u003eMelodia\u003c\/i\u003e and \u003ci\u003ePresto\u003c\/i\u003e - trace a path from severe, almost architectural contrapuntal writing to a finale of extraordinary rhythmic vitality. In Menuhin’s performance, the music retains its structural clarity while revealing a strong sense of expressive purpose. Writing in 1948, \u003ci\u003eThe Gramophone\u003c\/i\u003e described the performance as displaying “incredible virtuosity and superb musicianship”, adding that it must rank “as one of the outstanding achievements of our time.” Such contemporary testimony is borne out by the recording itself, which captures the work at a point when it was still new, its idiom not yet absorbed into the mainstream of violin playing.\n\u003cbr\u003e\u003cbr\u003e\nThe Violin Sonata No. 1 in F minor by Prokofiev, recorded the following year in the same Abbey Road studio, presents a very different but equally compelling sound world. Begun in 1938 and completed in 1946, the sonata received its first performance in Moscow in October of that year. Menuhin’s 1948 recording with the pianist Marcel Gazelle is among the earliest accounts of the work and appears very likely to have been its first commercial recording in the West, following shortly after the initial Soviet recording by David Oistrakh and Lev Oborin.\n\u003cbr\u003e\u003cbr\u003e\nWhere Bartók’s sonata explores the possibilities of the violin alone, Prokofiev’s work unfolds as a tense and often sombre dialogue between violin and piano. The opening \u003ci\u003eAndante assai\u003c\/i\u003e, with its spectral, descending scales, sets the tone for a work in which lyricism is frequently shadowed by unease. The central movements contrast a sharply etched \u003ci\u003eAllegro brusco\u003c\/i\u003e with a more inward \u003ci\u003eAndante\u003c\/i\u003e, before the finale returns to the atmosphere of the opening in music of remarkable intensity. Reviewing the recording in 1949, \u003ci\u003eThe Gramophone\u003c\/i\u003e described it as “an authoritative performance of a remarkable work”, noting in particular the expressive depth of the slow movement.\n\u003cbr\u003e\u003cbr\u003e\nTaken together, these recordings document Menuhin at a pivotal moment in his artistic development. In Bartók’s sonata he appears as the work’s dedicatee and first interpreter, preserving on disc a piece closely bound to his own musical identity. In Prokofiev’s sonata he assumes a different role, that of an early advocate bringing a recent and little-known work to a wider audience beyond its country of origin. Both performances were made at a time when this repertoire was still in the process of establishing itself, and both retain the sense of immediacy that comes from such proximity.\n\u003cbr\u003e\u003cbr\u003e\nHeard today, they offer not only historical insight but performances of enduring conviction, shaped by a musician deeply engaged with the challenges and possibilities of the modern violin repertoire. In this new Pristine Ambient Stereo XR remaster, these historic recordings are heard with a new clarity, depth and presence that bring their immediacy vividly to life.\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv style=\"font-size:24px;\"\u003e\n\u003cb\u003eMENUHIN\u003c\/b\u003e plays contemporary sonatas\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv style=\"font-size:18px;\"\u003e\n\u003cb\u003eBARTÓK\u003c\/b\u003e Sonata for Solo Violin, Sz. 117, BB 124\u003c\/div\u003e\n\u003cdiv style=\"font-size:14px;\"\u003e\n1. 1st mvt. - \u003ci\u003eTempo di ciaccona\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:39)\u003c\/span\u003e\u003cbr\u003e\n2. 2nd mvt. - \u003ci\u003eFuga\u003c\/i\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:30)\u003c\/span\u003e\u003cbr\u003e\n3. 3rd mvt. - \u003ci\u003eMelodia\u003c\/i\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:57)\u003c\/span\u003e\u003cbr\u003e\n4. 4th mvt. - \u003ci\u003ePresto\u003c\/i\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:11)\n\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"font-size:16px;\"\u003e\n\u003cb\u003eYehudi Menuhin\u003c\/b\u003e, violin\u003c\/div\u003e\n\u003cdiv style=\"font-size:12px;\"\u003e\nRecorded 2-3 June 1947 in EMI Studio No. 3, Abbey Road, London · First issued on HMV DB9231\/33 (special order)\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv style=\"font-size:18px;\"\u003e\n\u003cb\u003ePROKOFIEV\u003c\/b\u003e Violin Sonata No. 1 in F minor, Op. 80\u003c\/div\u003e\n\u003cdiv style=\"font-size:14px;\"\u003e\n5. 1st mvt. - \u003ci\u003eAndante assai\u003c\/i\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:16)\u003c\/span\u003e\u003cbr\u003e\n6. 2nd mvt. - \u003ci\u003eAllegro brusco\u003c\/i\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:56)\u003c\/span\u003e\u003cbr\u003e\n7. 3rd mvt. - \u003ci\u003eAndante\u003c\/i\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:59)\u003c\/span\u003e\u003cbr\u003e\n8. 4th mvt. - \u003ci\u003eAllegrissimo - Andante assai, come prima\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:36)\n\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"font-size:16px;\"\u003e\n\u003cb\u003eYehudi Menuhin\u003c\/b\u003e, violin\u003cbr\u003e\n\u003cb\u003eMarcel Gazelle\u003c\/b\u003e, piano\u003c\/div\u003e\n\u003cdiv style=\"font-size:12px;\"\u003e\nRecorded 30 September - 1 October 1948 in EMI Studio No. 3, Abbey Road, London · First issued on HMV DB6845\/47\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv style=\"font-size:16px;\"\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eXR Remastered by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eAndrew Rose\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/div\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cdiv style=\"font-size:12px;\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal duration:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e 53:04\u003c\/span\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM132.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM132.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":59475887784270,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59475887817038,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59475887849806,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACM132.jpg?v=1776988808"},{"product_id":"pacm132-cd","title":"MENUHIN Contemporary Violin Sonatas: Bartók, Prokofiev (1947\/48) - 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