{"title":"Rachmaninov","description":"Sergei Vasilievich Rachmaninoff (Rakhmaninov) (Russian: Серге́й Васи́льевич Рахма́нинов,1 April [O.S. 20 March] 1873[nb 2] – 28 March 1943) was a Russian pianist, composer, and conductor of the late-Romantic period, some of whose works are among the most popular in the classical repertoire.\u003cbr\u003e\u003cbr\u003eBorn into a musical family, Rachmaninoff took up the piano at age four. He graduated from the Moscow Conservatory in 1892 and had composed several piano and orchestral pieces by this time. In 1897, following the critical reaction to his Symphony No. 1, Rachmaninoff entered a four-year depression and composed little until successful therapy allowed him to complete his enthusiastically received Piano Concerto No. 2 in 1901. After the Russian Revolution, Rachmaninoff and his family left Russia and resided in the United States, first in New York City. Demanding piano concert tour schedules caused his output as composer to slow tremendously; between 1918 and 1943, he completed just six compositions, including Rhapsody on a Theme of Paganini, Symphony No. 3, and Symphonic Dances. In 1942, Rachmaninoff moved to Beverly Hills, California. One month before his death from advanced melanoma, Rachmaninoff acquired American citizenship.\u003cbr\u003e\u003cbr\u003eEarly influences of Tchaikovsky, Rimsky-Korsakov, Balakirev, Mussorgsky, and other Russian composers gave way to a personal style notable for its song-like melodicism, expressiveness and his use of rich orchestral colors. The piano is featured prominently in Rachmaninoff's compositional output, and through his own skills as a performer he explored the expressive possibilities of the instrument.","products":[{"product_id":"pakm035","title":"KATCHEN Brahms: Piano Sonata No. 3; Rachmaninov: Piano Concerto No. 2 (1949\/51) - PAKM035","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Sonata No. 3\u003cb\u003e\u003cbr\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1949 and 1951\u003cbr\u003eTotal duration: 64:28\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eJulius Katchen, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe New Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Anatole Fistoulari\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM035.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eGroundbreaking LP releases from the great virtuoso Katchen\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe first solo piano \u0026amp; piano concerto LPs - now in exceptional XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBoth of these recordings represent true milestones in \nthe development of the long playing record. The Brahms was originally \nreleased in the USA by Decca's American subsidiary, London, some seven \nmonths prior to Decca's launch of the LP format in the UK in June 1950, \nwhen this LP was amongst the first batch of issues. Although the long \nplayer had been around in the States for some two years, Katchen's LP \nrelease of the Brahms \u003cem\u003e3rd Piano Sonata\u003c\/em\u003e was in fact the first full LP of music for solo piano.\u003c\/p\u003e\u003cp class=\"body\"\u003eA year later, the pianist notched up a second historic first - astonishingly, the Rachmaninov \u003cem\u003e2nd Concerto\u003c\/em\u003e\n recording he made with Fistoulari just two months prior to its June \nrelease was the first piano concerto release on LP. Both this and the \nBrahms are worthy holders of these titles - Katchen is still today \nremembered perhaps more than anything for his playing of Brahms, and \nalthough the \u003cem\u003e3rd Sonata\u003c\/em\u003e was not his earliest recording of \nBrahms for Decca, it was the first to see commercial release:; in May \n1947 Katchen had recorded the \u003cem\u003eVariations and Fugue on a Theme by Handel\u003c\/em\u003e in a session which aslo saw the recording of his first actual Decca disc release (Liszt's \u003cem\u003eHungarian Rhapsody\u003c\/em\u003e\n was issued on 78rpm in February 1948). This first Brahms recording has \nremained unissued, along with two other recordings from this session, \nand it was remade in a recording done in April 1949 and issued first on \n78rpm in September 1950 and eventually on vinyl in 1952.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis was clearly a confusing time for the record buyer. During the sessions that yielded the \u003cem\u003e3rd Sonata\u003c\/em\u003e, Katchen had also recorded Brahms' \u003cem\u003eIntermezzo in E flat Op.117\/1\u003c\/em\u003e, but this was only \u003cem\u003eever\u003c\/em\u003e issued on 78s - in a set which paired it with the \u003cem\u003eThird Sonata\u003c\/em\u003e\n (AX423-27) when issued on shellac nine months after the sonata's vinyl \nrelease! The same sessions resulted in three Chopin recordings which \nagain would have needed to be collected on both vinyl and shellac by the\n 1950's Katchen completist.\u003c\/p\u003e\u003cp class=\"body\"\u003eBy April 1951 things seem a little more settled, \nformat-wise. The Rachmaninov was still issued on both 33rpm and 78rpm, \nbut this time the vinyl and shellac release dates were just a month \napart (possibly less - we only have the month to go on and not the \nprecise issue date), with UK vinyl getting the priority over both \nshellac and the US vinyl release.\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of the sessions represented here were produced by \nthe legendary John Culshaw, with the equally revered Kenneth Wilkinson \nmanning the controls for the \u003cem\u003eConcerto\u003c\/em\u003e recording (we have no record of who engineered the \u003cem\u003eSonata\u003c\/em\u003e),\n and both live up to the standards one comes to expect from Decca at \nthis time. What is unusual about both, but was clearer to me when \nrestoring the \u003cem\u003eSonata\u003c\/em\u003e, is a rather unusual harmonic distortion \nthat was evident during louder sections at the frequency range above \nabout 8kHz. However, the trigger for this distortion is not the higher \nnotes - these are generally clean and clear when heard in isolation - \nbut rather the lower notes in the left hand. Booming bass notes seemed \nto trigger a high end distortion which subsequent research strongly \nsuggests was a product of the tape recorders in use at the time, rather \nthan the vinyl replay medium.\u003c\/p\u003e\u003cp class=\"body\"\u003eConsequently much of the time spend remastering these \notherwise excellent recordings has revolved around taming this tendency \nwhere it occurs. Both recordings have emerged from the XR remastering \nprocess sounding truly rejuvenated, and although sharper listeners with \nhighly analytical hi-fi systems, listening at higher volumes, may still \nbe aware of some residual traces of this distortion in the \u003cem\u003eSonata\u003c\/em\u003e,\n for the majority it will be merely a curiousity to be read about and \nnot heard. Certainly my own hi-fi speakers don't reproduce it noticeably\n at normal listening levels.\u003c\/p\u003e\u003cp class=\"body\"\u003eFrom a performance point of view it is clear why Katchen\n was to be associated with Brahms so much - this early recording is \nreally excellent. Writing in \u003cem\u003eThe Gramophone \u003c\/em\u003ein July 1950, L.S. has the following to say:\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003ci\u003eJulius Katchen gives an impressive performance \nwhich has real coherence (he is, of course, helped by L.P. continuity): \nhe seems equally successful with the massive highly-strung style of the \nopening (how alike in feeling this is to the 'D minor Concerto, written a\n year later!) and the sentimental ardours of the slow movement (which is\n prefixed by three lines from a love poem by Sternau). In the Scherzo, \nwith its flying leaps, Katchen manages to keep the movement light and \nairy at the same time as giving it substance: in fact, the only \ncriticism I have to offer of this very considerable pianist is that he \nis inclined to overdo the left-hand-before-right-hand trick to express \ndeep feeling.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Rachmaninov's reviewer H.F., in August 1951, managed\n to get himself somewhat amusingly tangled up in the new-fangled vinyl \ntechnology:\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003ci\u003eLong-playing records are almost as moody and \nunaccountable as composers. No amount of flattery, persuasion, and \ntactful handling will make this one play ball with me (perhaps out of an\n innate psychological sense of revenge that I am not a whole-hearted \nadmirer of Rachmaninov as a composer ?). The tonal range is wide enough;\n but when I turned things down so as to reach a tolerably pleasing \nall-over sound, there was no body left; as soon as I began to turn \nthings up, the effect was increasingly as if the music had been recorded\n in a biscuit tin...\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e...before delivering a verdict which turns to the \nperformance itself (suffice to say his concerns about sonics are not \nevident on this new Pristine XR issue):\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003ci\u003eThis is the pianist's recording—he takes it by \nhis powers (which are high) and is allowed it by those who balanced \norchestra and solo instrument. Memory is a trickster, but I fancy \nRachmaninov himself played the Concerto with greater warmth, more \nlovingly, less athletically. In other ways Julius Katchen is a worthy \nfollower of that great performer. I feel that the performance as a whole\n design laid out before one suffers a little from the fact (as it seems \nto me) that the pauses are each slightly too long for gramophone \nreception. The piano tone is consistently far better than the orchestral\n tone, despite an occasional point of blasting. The pianist shows \nhimself at his best in the third movement ; but, indeed, he is \nexceptionally good all the way through.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSonata for Piano No. 3 in F minor, Op. 5\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb class=\"body\"\u003eJulius Katchen, piano\u003c\/b\u003e\u003cbr\u003e Recorded 11 October 1949, West Hampstead Studios, London, produced by John Culshaw\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eIssued on LP in the USA Dec. 1949 as London LLP112 and in the UK in June 1950 as Decca LX4012\u003cbr\u003e Also issued in the UK as Decca 78s AX423-27 in March 1951\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Concerto for Piano and Orchestra No. 2 in C minor, Op. 18\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb class=\"body\"\u003eJulius Katchen, piano\u003cbr\u003e The New Symphony Orchestra\u003cbr\u003e conductor Anatole Fistoulari\u003c\/b\u003e\u003cbr\u003e Recorded 11-12 April, 1951, Kingsway Hall, London, produced by John Culshaw, engineered by Kenneth Wilkinson\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eIssued on LP in the UK in June 1951 as Decca LXT2595 and in the USA in July 1951 as London LLP384\u003cbr\u003e Also issued in the UK as Decca 78s AX535-39 in July 1951\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTransfers and XR remastering by Andrew Rose at Pristine Audio, March 2010\u003cbr\u003eCover artwork based on a photograph of Julius Katchen\u003cbr\u003e\u003cbr\u003eTotal duration: 64:28 \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\/PAKM035.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM035.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":34044633101,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34044633229,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34044633357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34044633485,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM035_e2cccb8d-80be-4fcb-904f-ab138a91a305.jpg?v=1489487920"},{"product_id":"pasc478","title":"MONTEUX at Tanglewood, Volume 3 (1961) - PASC478","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Piano Concerto No. 2\u003cb\u003e\u003cbr\u003eBARTÓK\u003c\/b\u003e Rhapsody No. 1\u003cb\u003e\u003cbr\u003eVIOTTI\u003c\/b\u003e Violin Concerto No. 22\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive stereo recordings, 1961\u003cbr\u003eTotal duration: 69:31\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003ePierre Monteux, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eGary Graffman\u003c\/b\u003e, piano\u003cb\u003e\u003cbr\u003eIsaac Stern\u003c\/b\u003e, violin\u003cb\u003e\u003cbr\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e  \u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe famous last movement combines high-voltage virtuosity and studied arioso, an elastic and compelling realization of a score that can easily become routine.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eEvery\u003cb\u003e \u003c\/b\u003emeeting\u003cb\u003e \u003c\/b\u003ebetween veteran French conductor Pierre \nMonteux (1875-1964) and the Boston Symphony Orchestra promised \nexcitement and supple grace, at once. The concerts in the Berkshires \nallow Monteux access to repertory denied him on commercial records, and \nso those from 23 July 1961 (Bartok and Viotti) and 19 August 1961 \n(Rachmaninoff) become especially precious to us who cherish Monteux’s \nsensitive authority in collaborations. Personally, I await the \nrestoration of the Schumann \u003ci\u003eConcerto\u003c\/i\u003e that Eugene Istomin shared with Monteux at these concerts.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eGary Graffman (b. 1928) appears in resolute and resonant form in the \nmost popular of the Rachmaninoff concertos, the first movement’s moving \nwith a kind of feline sleekness and accuracy. Prior to this performance,\n I could not recall having ever heard a note of this composer from \nMonteux. The grand progression to the tutti statement of the main theme \nby solo and orchestra enjoys a suave inevitability. Typical of Monteux’s\n direction, the orchestra’s interior voices add a distinctive color too \noften sacrificed for the keyboard’s bravura. After the fateful climax, \nthe more lyrical interplay gains a decidedly erotic texture, aided by \nGraffman’s steely rhythm and even figurations, reminiscent of the kind \nof mechanical proficiency the late William Kapell could exert.  The \nacoustics of the Koussevitzky Music Shed – courtesy of stereo \nremastering by Andrew Rose – appear alert and responsive in the \nChopinesque \u003ci\u003eAdagio sostenuto\u003c\/i\u003e as well, in which Graffman and the \nBSO woodwinds enjoy some liquid ensemble while the strings play \npizzicato. The animated sections of the movement retain their arioso and\n declamatory elements without sag. The famous last movement combines \nhigh-voltage virtuosity and studied arioso, an elastic and compelling \nrealization of a score that can easily become routine.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIsaac Stern (1920-2001), while a mighty musician and patron of the \narts, remains problematical as a human being, for reasons that can wait \nfor other contexts. His reading of the 1792 \u003ci\u003eViotti Concerto No. 22\u003c\/i\u003e\n complements his commercial CBS recording with Eugene Ormandy, although \nMenuhin and Mitropoulos in New York performed a Kreisler arrangement of \nthe work in 1951. Stern had not commercially recorded the Bartok 1928 \u003ci\u003eFirst Rhapsody\u003c\/i\u003e\n (written for Joseph Szigeti), composed in the czardas style Liszt \ninvented. Again, Bartok’s music does not fit within the official Monteux\n discography. Stern and Monteux infuse the drone-like \u003ci\u003eLassu \u003c\/i\u003esection with ripe, Hungarian, lyric melancholy. The scale pattern of the\u003ci\u003e Lassu\u003c\/i\u003e will return at the conclusion of the \u003ci\u003eFriss\u003c\/i\u003e\n section, but not before a procession of dance tunes, the first of which\n strongly resembles “Simple Gifts” from Copland ensues. The BSO manages \nto invoke the cimbalom successfully to add to the gypsy effect. Feats of\n explosive virtuosity appear on both sides of the podium, the solo and \nthe orchestra in earthy, spirited competition, and everybody wins.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Viotti \u003ci\u003eConcerto \u003c\/i\u003emight qualify as “Italian galant” in \nstyle, although in its more energetic, martial moments it certainly \nanticipates much of Paganini.  Stern and Monteux play a relatively uncut\n edition. In his days when he maintained practice, Isaac Stern sported a\n sweetly burnished tone, captivating as it could be boldly and \naccurately piercing. The microphone placement appears close up to \nStern’s instrument, which cannot always subdue the audience’s \ncontribution to auditioning for Violetta in \u003ci\u003eLa Traviata\u003c\/i\u003e: if only \nthey’d cough on the beat! The virtuosic passages call mostly for \ndouble-stopping and quick alternations of tempo, with an occasional \nforay into harmonics. The cadenza proves rather brief but pungent as \nStern delivers it.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe sweet secondary melody has much in common with the equally compelling melody of the \u003ci\u003eAdagio\u003c\/i\u003e,\n which Stern and Monteux milk for easy and memorable listening. Fritz \nKreisler recorded the last two movements via a radio broadcast in the \n1940s, and the\u003ci\u003e Adagio\u003c\/i\u003e made his cup of tea, also. The progression of half steps – rather anticipating moments in the Beethoven \u003ci\u003eConcerto\u003c\/i\u003e – becomes ardent and mesmerizing, \u003ci\u003ebel canto\u003c\/i\u003e for the violin. Though brief, the second movement cadenza reminds us that Stern could beguile us. The last movement, \u003ci\u003eAgitato assai\u003c\/i\u003e,\n means to be a showstopper. The driving motif – with its flute response –\n caught my ear when I first heard it when a youngster. The easy \nfascination of this charming piece caught the attention of Brahms, who \nmentions his pleasure in the work in a letter to Joachim. Those two \nmasters might well have savored the performance Pristine has restored to\n us in effective sound.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"https:\/\/www.audaud.com\/monteux-tanglewood-volume-3-1961-part-one-concertos-rachmaninoff-bartok-viotti-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC478.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMonteux's stereo Tanglewood broadcasts part 3: 1961 Concertos\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Feats\n of explosive virtuosity appear on both sides of the podium, the solo \nand the orchestra in earthy, spirited competition, and everybody wins\" -\n Audiophile Audition\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis third volume of Tanglewood recordings moves us decisively into \nthe 1960s, with the first of two parts derived from the Tanglewood \nconcerts that summer. Here we concentrate on concerto works, with one \neach from Rachmaninov and Viotti, and a mini near-concerto in Bartók's \ntwo-movement Rhapsody for Violin and Orchestra No. 1, with pianist Gary \nGraffman and violinist Isaac Stern.\u003cbr\u003e\u003cbr\u003eWhilst both Bartók and \nRachmaninov are of course both household names, Viotti is less \nwell-known and appears here for the first time on any release on the \nPristine label. Born the year before Mozart, this Italian virtuouso \nviolinist lived and performed in a number of major European countries \nduring a perilous time of revolution and war, something that dictated \nhis movements on more than one occasion.\u003cbr\u003e\u003cbr\u003eHe is best known today \nfor his 29 violin concertos, of which the 22nd in A minor played here, \nwhich he wrote in 1792 - the year when revolution forced his relocation \nfrom Paris to London - is the most well-known. Indeed the complete \nseries of concertos was not to receive its full recording until 2006, \nand he would have been almost unknown to the audiences of 1961, save for\n an LP of this work recorded in the mid-50s by Isaac Stern with The \nPhiladelphia Orchestra under Ormandy, one of only two pieces of music by\n Viotti available to British LP buyers in the early 1960s. (It is worth \nnoting Stern returned to Philadelphia in the spring of 1961 to record \nhis 16th Concerto.)\u003cbr\u003e\u003cbr\u003eThe two concerts from which these stereo \nrecordings were taken offer two very different acoustics, for which I \ncan only blame microphone placement. The piano recording is big, wide \nand lush, whilst the violin concert is far more immediate and direct - \nin many ways both suit the music perfectly. Sound quality after XR \nremastering in both cases is excellent, though a little tape hiss \nremains in the violin concert recordings. I have removed a large number \nof coughs, most particularly in the superb Rachmaninov.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 2 in C minor, Op. 18\u003cb\u003e\u003cbr\u003eGary Graffman \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 19 August, 1961\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eRhapsody No. 1 for Violin and Orchestra, Sz. 87\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVIOTTI\u003c\/b\u003e Violin Concerto No. 22 in A minor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 23 July, 1961\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eIsaac Stern, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003ePierre Monteux\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded at the Koussevitzky Music Shed, Tanglewood \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\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\/PASC478.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC478.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":31975849421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975849485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975849549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC478_43fd20ad-8a43-450c-8d9a-04faeeadc608.jpg?v=1487682407"},{"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":"pacm090","title":"ROSTROPOVICH Chamber Music, Vol. 1 (1956) - PACM090","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e \"Archduke\" Trio\u003cbr\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Danse Orientale\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\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;\"\u003eGRANADOS \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\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;\"\u003eSpanish Dance 5: \"Andaluza\"\u003cbr\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e Introduction \u0026amp; Polonaise \u003cspan data_liveedit_tagid=\"000000000D770FF0\" type=\"_moz\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003eStudio Recordings · 1956\u003cbr\u003eTotal duration: 64:47 \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003eMstislav Rostropovich, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eEmil Gilels, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eLeonid Kogan, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eAlexander Dedyukhin, \u003c\/b\u003epiano \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeethoven - Archduke Trio578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\"\u003eThis is as accomplished a performance as a glance at \nthe names of the players would lead one to expect. I had not heard Emil \nGilels in chamber music before; he makes a fine partner for Kogan and \nRostropovich and seems to have a very clear idea of the \u003cem\u003eprimus inter pares\u003c\/em\u003e\n role that Beethoven requires him to play in the Archduke Trio. A \nnaturally commanding player, he succeeds in catching just the right air \nof authority here. I hope we shall be offered much more of him in \nchamber music.\u003c\/p\u003e\u003cp class=\"western\"\u003eNot many years ago we used to be told quite \nregularly—and with some truth— that good chamber music playing could \nnever be hoped for from a collection of virtuosi. From an ad hoc \ncollection, no: the careless throwing together of soloists’ \ntemperaments, such as we witnessed from time to time at international \nfestivals, could scarcely be expected to generate much light. But the \njuxtaposition of strong musical personalities in chamber music can \ncreate excitement when properly managed. It does so here. Kogan, \nRostropovich and Gilels play as one mind but at the same time as a mind \nwith three facets; the performance benefits considerably from the \nindividuality each retains.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe playing as a whole is very strong and direct \n(though never forced or obvious) and I think that anyone expecting \nsoulfulness and \u003cem\u003eInnigkeit\u003c\/em\u003e above all in the Archduke might at \nfirst find the performance a little unsatisfying. Yet it is never \ninflexible: there is nothing relentless about any of the tempi and one \ngets the impression that there’s always time for the detail in the music\n to make effect. It is possibly a little lower in emotional temperature \nthan, say, the performance by Schneider, Casals and Istomin (Philips \nmono GBL5639) that I wrote about so enthusiastically in May last year. \nI’m still very taken with that record, in spite of the mediocre \nrecording quality. I must admit, however, that the tempi on this new one\n are far more likely to find general acceptance. Casals started the \nScherzo very slowly and made much of it sound almost rustic; with \nRostropovich and his colleagues the movement achieves a more natural \nlilt— a little less magic, perhaps, but an altogether easier flow. (It \nis worth mentioning, too, that they observe the double repeat, a fact \nwhich makes their fairly brisk tempo seem essential; the Prades players \non the other hand opted for a simple A В A + coda form and, as I’ve \nsaid, filled it out at a very deliberate pace—textually this can hardly \nbe correct.) In the slow movement the Russians stick close to the \u003cem\u003eandante cantabile mа però con moto \u003c\/em\u003eBeethoven\n asked for; Schneider, Casals and Istomin attempted the near-impossible \nhere and brought off a moving, wonderfully rapt adagio.\u003c\/p\u003e\u003cp class=\"western\"\u003eIt is probably not going to be very illuminating to \npursue comparisons further. This new record arrived rather late for \nreview and I haven’t had time to play it more than once. I doubt, \nthough, whether subsequent hearings would cause me to modify my initial \nimpression, which is of a perceptive, noble and justly proportioned \ninterpretation almost impeccably executed. But I’m also quite sure that I\n shall continue to delight in the old Philips record and to find equal, \nif different, pleasures there. The only general fault I can level at \nthis Russian performance is that its dynamic range is rather restricted.\n This may be the fault of the recording, not of the players: though \nadequate in all respects it is not strikingly good in any and the \nquality of the sound does vary quite noticeably.\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by S.P., The Gramophone\u003c\/b\u003e, August 1963 - \u003cem\u003eLe Chant du Monde\u003c\/em\u003e LP issue\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM090.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrilliant and rare Soviet chamber music recordings by Rostropovich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLegendary Archduke with Gilels and Kogan alongside long-lost Granados and Rachmaninov \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eMstislav Rostropovich made a large number \nof recordings for release in the Soviet Union at the start of his \ncareer. Many of these were picked up by Western record companies either \nat the time or since, but there remain undiscovered treasures still to \nbe found. Here we mix the known and the unknown. It's no surprise to \nfind the Archduke turned up in the UK in the early 60s, and it's been \nreissued since. But I can find no solid account of two of the three \nrecordings with Alexander Dedyukhin that I discovered on a Soviet \ncompilation LP of recordings by the cellist and which we present here. \nBoth LPs were in very good condition, though the Soviet pressings \nweren't quite up to contemporary Western standards. XR remastering has \ndone wonders for the rather dim original sound quality, and these \nrecordings really are a delight to hear as a result.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN Piano Trio No. 7 in B flat, Op. 97 \"Archduke\"\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eEmil Gilels\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/p\u003e\n\u003cp\u003eRecorded Moscow, 1956\u003cbr\u003eTransfer from Melodiya ND 03456-03457\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRACHMANINOV Danse Orientale in A minor, Op.2, No.2\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eGRANADOS (arr. Pekker) Danzas Españolas No. 5 - 'Andaluza'\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eCHOPIN Introduction and Polonaise brillante in C, Op.3\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eAlexander Dedyukhin\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eRecorded December 1956, Polskie Nagrania, Warsaw, Poland\u003cbr\u003eTransfer from Melodiya 33D-027828\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\/PACM090.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM090.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":37144225485,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144225549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144225613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144225741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM090.jpg?v=1494337612"},{"product_id":"pasc471","title":"STOKOWSKI Acoustic, Volume 3 (1917-24) - PASC471","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Piano Concerto No. 2\u003cb\u003e\u003cbr\u003eVARIOUS \u003c\/b\u003eSymphonic movements and short pieces\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\"\u003eAcoustic studio recordings, 1917-1924\u003cbr\u003eTotal duration: 79:41 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eSergei Rachmaninov, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe metrical freedoms taken by the soloist-composer are a touch freer than in his remake, making this recording that much more uplifting and combustible ... a memorable achievement and it has been very well transferred here578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is the third of a projected four \nvolumes in Pristine’s series devoted to acoustic recordings made for the\n Victor Company by Leopold Stokowski and members of the Philadelphia \nOrchestra between 1917 and 1924. I have long been skeptical about the \nvalue of orchestral recordings made with the acoustic process, prior to \nthe introduction of the microphone in 1926. As anyone at all familiar \nwith this primitive recording method would be aware, what is performing \nin these selections is not actually the Philadelphia Orchestra but \nrather a few of its members, clustered around a recording horn. \nAccordingly, a major issue in assessing this release is whether the \nsonic wizardry of Andrew Rose has been able to create the illusion of an\n actual orchestra playing in these recordings. The answer is “not \nentirely,” but the sound on this Pristine release is often substantially\n better than I would have expected, and there are portions where it is \npossible to overlook the absence of a full orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the 1924 recording of the Rachmaninoff Concerto, the orchestral sound is acceptably full in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es,\n although opaque. Elsewhere, string tone is sometimes ample and \nsometimes thin or tubby, but the results remain thoroughly listenable. \nSurface noise from the source discs is audible but unobtrusive. What is \ntruly remarkable, however, is the piano sound, which is full, rich, \nsolid, and completely stable in pitch, although it is impossible to \ndetermine how closely this warm, rounded sound replicates the actual \nsound of Rachmaninoff’s playing. The sound of the Pristine remastering \nis in any case good enough to allow one to appreciate the performance, \nbut the 1929 remake by the same performers remains preferable for \nfull-orchestra sound and superior dynamic range. (I have that later \nrecording on a 1994 RCA Gold Seal reissue, but there are other \nremasterings that are probably better.) Other than sound, the main \ndifference between the two performances is the quicker main tempo for \nthe slow movement in the earlier one. Both performances are \ndistinguished by the composer’s effortless fluency at the piano, by a \nsuppleness and elasticity that never strays into mannerism, and by \npacing that is swifter than in most modern recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eQuality varies among the shorter pieces\n filling out the disc, but one area where Pristine’s treatment has \nunquestionably produced a substantial improvement is in freedom from the\n wow and flutter one would expect in material of this vintage. The four \nBizet selections (recorded 1919–23) fare well sonically and \ninterpretively. Bizet’s transparent orchestration is done comparatively \nlittle harm by the reduced complement of instruments, while Stokowski’s \nreadings are lively but straightforward, without any fooling around with\n tempo. Liszt’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSecond Hungarian Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1920) is heavily cut, but the roughly half of it that remains\n is brilliantly played by the Philadelphians, and the menacing opening, \nwith growling low strings, and the wild, headlong conclusion will \nimpress the listener. The sharp staccato attacks at the very beginning \nwere not employed by Stokowski in two later (complete) recordings of the\n piece, in 1936 and 1960–61. I don’t care much for the bloated \narrangement of the Chopin Prélude or the equally soupy rendition of \nGluck’s “Dance of the Blessed Spirits.” The sound in Ippolitov-Ivanov’s \n“Procession of the Sardar” (recorded 1922) is less good than in the \nBizet and Liszt selections, and some of the wind playing seems not up to\n Philadelphia standards. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMidsummer Night’s Dream\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo (1917) suffers from a boomy, murky bass and a relatively high noise level. Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEspaña\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (1919) is heavily cut, and the sound does not much disguise the limitations of the acoustic recording process. The march from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (1924) is an excerpt and cuts off abruptly after three minutes. The \nsound is brassy and not much like a full orchestra. The excerpt from the\n third movement of Tchaikovsky’s “Pathétique” (1917), in contrast, \nstarts off in the middle of the movement. The balances initially seem \nway off, and there is some imperfect ensemble, but things improve. It is\n difficult to know how closely these early recordings actually represent\n Stokowski’s interpretations during this period and the extent to which \nthey may have been influenced by the exigencies of the primitive \nrecording process, but it is noteworthy that he slows the tempo at \nexactly the same point in this 1917 recording as in his 1945 live \nHollywood Bowl performance (Memories), although tempo shifts in the \nearlier performance are somewhat less pronounced. The Wagner and \nTchaikovsky selections and the one by the obscure American composer \nEdgar Stillman Kelley (1857–1944) are previously unissued. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis release demonstrates that some \nworthwhile listening can be drawn from the grooves of these early \norchestral recordings. Rachmaninoff’s earlier recording of his Concerto \nNo. 2 is, of course, the most valuable item on the program, in terms of \nhistorical significance and performance and sound quality, and its \npresence on the disc mandates a recommendation. The remaining selections\n will appeal primarily Stokowski completists but are worthwhile bonuses.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:2 (Nov\/Dec 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\nPristine Audio reminds me of a plate-spinner on the variety stage. It \nhas a large number of plates spinning at the moment, with multi-volume \nseries devoted to Beecham, Stokowski and Monteux just three that have \ncome my way in the past few weeks. The third volume of their series \ndevoted to Stokowski’s acoustic recordings (see reviews of \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003e Volume 1\/a\u0026gt; and \u003c\/a\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003e Volume 2\u003c\/a\u003e)\n has a major work, and then a raft of lighter material, several of which\n pieces will be of considerable interest to Stokowski collectors as they\n have never before been issued.\u003cbr\u003e \u003cbr\u003e The major work is Rachmaninov’s\n Second Piano Concerto with the composer as soloist. This 1924 recording\n shouldn’t be confused with the later electric remake. The strange \nhistory of its missing first movement – never issued at the time, thus \nforcing purchasers to buy a torso of the work – can be explored \nelsewhere, though suffice to say it first reappeared commercially in RCA\n Red Seal’s Rachmaninov edition of his complete recordings. It’s known \nthat he played a Steinway Model B here, which was raised on a platform \nto allow the horn better to pick up his sound – quite a common practice \nat the time – and the results were exceptional. Given that Rachmaninov \nnever approved the first movement for release, listeners would have had \nto start with the slow movement but for us no such impediment exists. It\n is one of those little ironies of recording history that Victor was \nrecording a pretty complete complement of orchestral players back in \n1917 but in succeeding years they actually cut back, so that by the end \nof the acoustic era the Philadelphia often had around 38 or 40 players \nin the studio. Any bass reinforcements in this Rachmaninov recording \nhave been utilised quite subtly. The metrical freedoms taken by the \nsoloist-composer are a touch freer than in his remake, making this \nrecording that much more uplifting and combustible. It is, in any case, a\n memorable achievement and it has been very well transferred here.\u003cbr\u003e \u003cbr\u003e\n The remainder of the programme is graced by a succession of \nsingle-sided sweetmeats. The quartet of Bizet gives the brass and winds a\n workout in particular – the \u003cem\u003eMarch of the Smugglers\u003c\/em\u003e is notably \nwell played – and whilst this is by no means the first recording of \nBoccherini’s Minuet, it is assuredly one of the most suavely played. \nIppolitov-Ivanov’s \u003cem\u003eProcession of the Sardar\u003c\/em\u003e from the \u003cem\u003eCaucasian Sketches Suite No.1\u003c\/em\u003e\n offers some exotic fair and Stokowski’s arrangement (and the \norchestra’s performance of Chopin’s Prelude in E minor) is persuasive: \nother Stoky Chopin arrangements were not always so tasteful. The Gluck \nis, alas, too bass heavy and lugubrious but the 1919 Chabrier \u003cem\u003eEspaña Rhapsody\u003c\/em\u003e\n makes up for it. The last three pieces have never before been released.\n Like everything else, the sound is excellent for the 1917-24 time \nperiod. We hear the second part of the Scherzo from Tchaikovsky’s Sixth \nSymphony, and part one (only) of Tannhauser’s \u003cem\u003eFestmarsch\u003c\/em\u003e\u003cu\u003e,\u003c\/u\u003e which duly stops abruptly. But the gem here is the piece by the American composer Edgar Stillman Kelley whose \u003cem\u003eThe Red Queen’s Banquet\u003c\/em\u003e, from his \u003cem\u003eAlice in Wonderland\u003c\/em\u003e\n suite, offers some busy material. In fine sound, it brings Kelley to \nthe attention of contemporary listeners and one wonders what else is out\n there by him.\u003cbr\u003e \u003cbr\u003e Full documentation can be found on Pristine’s \nwebsite, as there isn’t much room in the disc for much beyond a brief \nProducer’s Note and the running order.\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC471.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRachmaninov plays his 2nd Concert with Stokowski in truly astonishing sound quality for an acoustic recording!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"What is truly remarkable, however, is the piano sound, which is full, rich, solid, and completely stable in pitch\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis is the third of four volumes which aims to present all of the \nsurviving acoustic recordings made by Leopold Stokowski with the \nPhiladelphia Orchestra at the studios of the Victor recording company \nbetween 1917 and 1924. The somewhat drawn-out nature of this project has\n allowed us to track down a number of rare and unreleased sides, several\n of which appear for the first time on this release.\u003cbr\u003e\u003cbr\u003eSince \nbeginning the series, a number of technological advances in the field of\n sound restoration have appeared, allowing each time for greater \nfidelity to be extracted from the limited opportunities found in the \ngrooves of acoustically-recorded discs, with their highly limited \nfrequency and dynamic range. \u003cbr\u003e\u003cbr\u003eOne such advance is in the control \nof pitch instability - the \"wow and flutter\" inherent to one degree or \nanother in all analogue recordings, and generally found to greater \ndegrees as recordings get older. To be able to restore solidity of pitch\n to Rachmaninov's piano is to give it a degree of realism never heard \nbefore. Despite the aforementioned technical limitations, a few moments \nlistening to the solo piano in the opening bars of the Piano Concerto \nNo. 2, not originally issued, may have you pinching yourself - surely \nthis is not the sound of a piano captured through a horn, cut into a \ndisc being driven by weights, just months before the introduction of \nmicrophones? The delicacy of touch, the immediacy of the sound, the \nsolidity and (relative!) realism of the piano's tone is quite remarkable\n to hear.\u003cbr\u003e\u003cbr\u003eFor many, the performance given by Rachmaninov and \nStokowski here was preferable to their 1929 electrical remake. Here we \ntake a step closer to that performance, alongside a panoply of single \nsides and previously unissued Wagner, Tchaikovsky and one Edgar Stillman\n Kelley, a composer who was new to me. My sincere thanks to all who make\n this release possible. A fourth and final volume in the series will \nfollow within a month.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSergei RACHMANINOV (1873-1943)\u003c\/b\u003e\u003cbr\u003e 1-3. Piano Concerto No. 2 in C minor, Op. 18 [30:38] \u003cbr\u003e rec. January 3 and December 22, 1924\u003cbr\u003e\u003cb\u003eSergei Rachmaninov, \u003c\/b\u003epiano\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1st mvt: Unissued, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-31395-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-31395-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eB-31397-1 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e2nd mvt: Victor 89166-68, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29233-4, C-29234-3, C-29235-4 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e3rd mvt: Victor 89169-71, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29236-3\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29251-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29252-2 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eGeorges BIZET (1838-1875)\u003c\/b\u003e\u003cbr\u003e 4. Carmen – Prelude [2:13] \u003cbr\u003e rec. May 8, 1919, matrix: Victor B-22812-4\u003cbr\u003eVictor 64822, \u003cbr\u003e 5. Carmen - Changing of the Guard transc. Stokowski [3:35]\u003cbr\u003e rec. April 30, 1923 \u003cbr\u003eVictor 66263, matrix: B-27903-2\u003cbr\u003e 6. Carmen - March of the Smugglers transc. Stokowski [3:32]\u003cbr\u003e rec. April 30, 1923\u003cbr\u003eVictor 66264, matrix: B-27902-1\u003cbr\u003e 7. L'Arlésienne - Spanish Dance [1:40] \u003cbr\u003e rec. January 28, 1922\u003cbr\u003eVictor 1113, matrix: B-25942-5\u003cbr\u003e \u003cb\u003eFranz LISZT (1811-1886)\u003c\/b\u003e\u003cbr\u003e 8. Hungarian Rhapsody No. 2 orch. Karl Müller-Berghaus [3:59]\u003cbr\u003e rec. May 20, 1920\u003cbr\u003eVictor 74647, matrix: C-24126-4\u003cbr\u003e \u003cb\u003eLuigi BOCCHERINI (1743-1805) \u003c\/b\u003e\u003cbr\u003e 9. Quintet in E, Op. 11, No. 5 - Minuet transc. Stokowski [2:36] \u003cbr\u003e rec. January 28, 1921\u003cbr\u003eVictor 66058, matrix: B-25943-4\u003cbr\u003e \u003cb\u003eMikhail IPPOLITOV-IVANOV (1859-1935) \u003c\/b\u003e\u003cbr\u003e 10. Caucasian Sketches Suite No. 1 - Procession of the Sardar [3:20]\u003cbr\u003e rec. April 29, 1922 \u003cbr\u003eVictor 66106, matrix: B-26442-2\u003cbr\u003e \u003cb\u003eFryderyk CHOPIN (1810-1849) \u003c\/b\u003e\u003cbr\u003e 11. Prelude no 4 in E minor, Op. 28, No. 4 transc. Stokowski [2:15] \u003cbr\u003e rec. November 6, 1922\u003cbr\u003eVictor 1111, matrix: B-26408-7\u003cbr\u003e \u003cb\u003eFelix MENDELSSOHN (1809-1847)\u003c\/b\u003e\u003cbr\u003e 12. A Midsummer Night's Dream - Scherzo [4:30] \u003cbr\u003e rec. November 8, 1917\u003cbr\u003eVictor 74560, matrix: Victor C-21056-4\u003cbr\u003e \u003cb\u003eChristoph Willibald von GLUCK (1714-1787)\u003c\/b\u003e\u003cbr\u003e 13. Orfeo ed Euridice - Dance of the Blessed Spirits [4:43] \u003cbr\u003e rec. November 8, 1917\u003cbr\u003eVictor 74567, matrix: Victor C-21066-1\u003cbr\u003e \u003cb\u003eEmmanuel CHABRIER (1841-1894) \u003c\/b\u003e\u003cbr\u003e 14. España Rhapsody [4:28] \u003cbr\u003e rec. May 9, 1919\u003cbr\u003eVictor 74621, matrix: Victor C-22809-7 \u003cbr\u003e \u003cb\u003eEdgar Stillman KELLEY (1857-1944)\u003c\/b\u003e\u003cbr\u003e 15. Alice in Wonderland - Suite: The Red Queen's Banquet [4:36]\u003cbr\u003e rec. December 31, 1924*\u003cbr\u003eUnissued, Matrix No. C-31625-1\u003cbr\u003e \u003cb\u003eRichard WAGNER (1813-1883) \u003c\/b\u003e\u003cbr\u003e 16. Tannhäuser - Act II: Festmarsch (Entrance of the Guests) transc. Stokowski [3:08]\u003cbr\u003e rec. April 30, 1923*\u003cbr\u003eUnissued, Matrix No. C-27900-4\u003cbr\u003e \u003cb\u003ePyotr Ilyich TCHAIKOVSKY (1840-1893)\u003c\/b\u003e\u003cbr\u003e 17. Symphony No. 6 in B minor, Op. 74 - Scherzo - Part 2 [4:27] \u003cbr\u003e rec. December 4, 1917*\u003cbr\u003eUnissued, Matrix No. C-21230-2\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded at Camden Church Studio (Victor Building no 22) Camden NJ, USA \u003cbr\u003eexcept tracks 12, 13, 17: \u003cbr\u003eVictor Office Building no 2, Eighteenth Floor Auditorium, Camden, NJ, USA\u003cbr\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC471.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC471.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":37537399181,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37537399245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37537399309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC471.jpg?v=1494861916"},{"product_id":"pacm090-cd","title":"ROSTROPOVICH Chamber Music, Vol. 1 (1956) - 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PAKM035 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478117709,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478117773,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM035_6486dab6-8795-48c0-afcc-281053f46444.jpg?v=1657705012"},{"product_id":"pasc358","title":"MOISEIWITCH plays Rachmaninov Piano Concertos 1 \u0026 2, Paganini Rhapsody (1937-48) - PASC358","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 1 \u003cbr\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 2 \u003cbr\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003eRhapsody on a Theme of Paganini\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1937, 1938, 1948\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 78:19\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eBenno Moiseiwitsch, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003ePhilharmonia Orchestra • London Philharmonic Orchestra \u003cbr\u003eSir Malcolm Sargent • Walter Goehr • Basil Cameron\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fSuperb performances, lovingly delivered by Pristine. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAll three of these items hail from the HMV Plum \nlabel “C” series; recording dates are 1937, 1938, and 1949, \nrespectively. Moiseiwitsch was to go on to rerecord the Second Concerto \nand the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the Philharmonia under Rignold in 1955 (Michael Fine reviewed the concerto in its Basics Classics incarnation in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 24:3); the recording of the First Concerto here remains his only one. \nBut who needs another one of the First? This is one of the finest \naccounts I have heard. Moiseiwitsch plays with tremendous sweep and \ndexterity, and the whole is imbued with just the right sense of flow. Of\n all these attributes, the overriding one is dexterity (although there \nis no shortage of excitement in the finale). It is a tribute to \nPristine’s engineers that so much detail is audible.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor the Second Concerto, there is a touch of \nblurring of mid to lower range detail (actually, just what one doesn’t \nwant in Rachmaninoff), but not enough to detract from Moiseiwitsch and \nGoehr’s powerful conception. The music ebbs and flows naturally, and \nMoiseiwitsch’s trademark cantabile is in evidence for the long melodies.\n The brass appear a little muffled on occasion, but elsewhere there is \nplenty of detail. This may not be the most exciting of Rach Seconds, but\n it is one of the most considered and beautiful (the first movement horn\n solo is gorgeous; if anything, it is slightly understated towards the \nend). Pristine’s superlative transfer gives a good idea of the pianist’s\n golden tone in the slow movement, while Moiseiwitsch himself leaves us \nin no doubt of his legerdemain. There is a hint of strain in the upper \nfrequencies in the second movement cadenza (no sense of strain from the \npianist, I hasten to add); the finale sparkles, with Moiseiwitsch making\n light work of any passages traditionally thought of as potentially \nawkward. Overall, there are higher octane readings. It is worthy of note\n that the live performance from the Proms on BBC Legends (4074, coupled \nwith a 1963 Festival Hall “Emperor” that is full of risk-taking) acts as\n a worthy supplement to this one.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePaganini Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is simply magnificent. The Pristine transfer enables a huge amount of \ndetail to come through. While the famous 18th variation is lovely, it is\n the gossamer lighter-fingered passages that are most memorable. If \nthere are readings that imbue the work’s final gestures with more humor \n(I think of the Ashkenazy\/Previn Decca performance), Moiseiwitsch’s deft\n end comes after superb, and highly exciting, preparation. Importantly, \nin this piece, there is a palpable connection between soloist and his \nconductor, Basil Cameron, throughout. It is testament to the quality of \nthe transfer that I essentially forgot any sonic limitations and \nconcentrated purely on the music. Superb performances, lovingly \ndelivered by Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eColin Clarke  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC358.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eMoiseiwitsch, Rachmaninov's \"spiritual heir\" - the orchestral recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eDramatic improvements in sound quality from these new 32-bit XR remasters of classic interpretations\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThese new transfers bring demonstrate brilliantly the way that the latest technologies can really bring recordings like these back to life. Pitch stabilisation software, available now for a little over a year, is key to firming up the sound of older piano recordings, reducing or eliminating the wow and flutter that characterises just about all of them.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eXR remastering, with its carefully tailored re-equalisation, noise reduction and click and crackle elimination sheds years from the sound of both soloist and orchestra as the inadequacies of early recording equipment are ameliorated. Finally, the subtle use of convolution reverberation replaces the typically dead studio acoustics of the era - all of these recordings were made in Abbey Road's Studio 1 - with the genuine and musically-sympathetic acoustic of one of the world's finest concert halls, greatly enhancing the sound both of the piano and the orchestra. In each case accurate measurements of residual electrical signals present in the recordings have allowed precise pitching to match that of the original performances.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe results, I trust, speak elequently for themselves.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e Piano Concerto No. 1 in F sharp minor, Op. 1 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 23 December 1948\u003cbr\u003eIssued as HMV C.3932-34\u003cbr\u003eMatrix Nos. 2EA.13511-16\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eThe Philharmonia\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003cbr\u003eSir Malcolm Sargent \u003c\/strong\u003econductor \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e Piano Concerto No. 2 in C minor, Op. 18\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 24 November \u003cbr\u003e\u0026amp; 13 December 1937\u003cbr\u003eIssued as HMV C.2973-76\u003cbr\u003eMatrix Nos. 2EA.5903-5910\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003eLondon Philharmonic Orchestra\u003cbr\u003eWalter Goehr \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e Rhapsody on a Theme of Paganini, Op. 43\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 5 December 1938\u003cbr\u003eIssued as HMV C.3062-64\u003cbr\u003eMatrix Nos. 2EA.7178-83 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003eLondon Philharmonic Orchestra\u003cbr\u003eBasil Cameron \u003c\/strong\u003econductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Abbey Road Studio 1, London \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBenno Moiseiwitsch \u003c\/strong\u003epiano \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, September 2012\u003cbr\u003eCover artwork based on a photograph of Benno Moiseiwitsch\u003cbr\u003e\u003cbr\u003eTotal duration: 78:19\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\/PASC358.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC358.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Rachmaninov Piano Concerto No. 1, 1949\u003c\/strong\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eDo not let that awe-inspiring label \"Op. 1\" mislead you \ninto any false ideas: for though this concerto was written in 1892, just\n before the student Rachmaninov left Moscow Conservatoire, he later \nconsidered it too jejune for performance, and in 1917 completely revised\n it —so that in its present form it dates from after the Third Concerto!\n It is dedicated to his cousin Siloti, as a result of whose efforts it \nwas that he was cured of a dangerous fever which he had contracted. This\n First Concerto has never reached, and probably never will reach, the \npopularity of its successors—even in its revised form it retains its air\n of immaturity—but it nevertheless contains many characteristic passages\n which are of great interest to the student of Rachnaaninov's style.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe first movement is rhapsodic in character. After a challenging fanfare and an impetuous \u003cem\u003ecadenza\u003c\/em\u003e from the piano, it opens with a broad and elegiac string melody which, however, very shortly gives way to a \u003cem\u003escherzando\u003c\/em\u003e section,\n which itself lasts next to no time before changing mood again. There is\n a youthful prodigality of melodic invention throughout the movement, \nbut the general effect is of a series of loosely constructed ideas, \nconstantly stopping and restarting. It is much to the credit of this \npresent performance that this episodic character is, so far as possible,\n skilfully avoided.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe \u003cem\u003eAndante\u003c\/em\u003e, a romantic movement of \"nocturne\" \ntype, is by far the most successful of the three. It opens with a \nmodulatory sequential passage (of which throughout the concerto \nRachmaninov shows himself overfond), slowly veering round to the key of D\n major, in which the main subject appears— the true ancestor in style of\n all the film rhapsodies of to-day. It is completely characteristic of \nthe composer, and I should like to draw attention to an enchanting \npassage in which the piano weaves colourful chromatic decorations round \nthe theme on the strings (the last third of side 4).\u003c\/p\u003e\u003cp class=\"body\"\u003eThe \u003cem\u003eFinale\u003c\/em\u003e is less satisfactory: it is \na:trilliant, capricious movement, based on rather thin material, into \nwhich is pitchforked, without much connection, a rather sickly \nsentimental middle section. However, the piano writing throughout, as \nmight be expected, is vigorous and ingenious.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo more sympathetic interpreters could have been found \nthan Moiseiwitsch and Sargent, who give a most fluent reading of the \nwork-actually preferable in interpretation, to my mind, to the \nRachmaninov-Ormandy version of 1940, which seemed altogether too \"bitty\"\n for comfort; and this is no whit less efficient. Sargent's \naccompaniment in the finale is a model of its kind while an occasional \nfaint sprinkling of wrong notes in the solo part serves as a reminder \nthat even the best pianists are human. The piano is perhaps a shade \ndistant—in the last movement I would have welcomed a more forward, \nglittering tone—but in general the recording is good, and unlike the \nearlier version mentioned, the \u003cem\u003efortissimos\u003c\/em\u003e do not feel as if someone had hit one round the face with a wet sock.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eL.S., The Gramophone\u003c\/strong\u003e, December 1949\u003cem\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Rachmaninov Piano Concerto No. 2, 1938\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eChristmas pressure has resulted in this set's arriving \nminus the start, and a chunk out of the second movement; however, I have\n three-quarters of it, and that seems sufficient to operate on. I would \nnot use the term in any hard, dissectional sense, of such an old friend \nas this. Next to Rachmaninov himself, I suppose few soloists would come \nbefore Moiseiwitsch, in the choice of most lovers of the work. He has \nbeen playing it to me since 1917— perhaps he began when it came out, in \nthe early years of the century. Here it is in the C series, in which I \nmeant, last month, to emphasize the quality (when we got Hess in the \nSchumann at 4s. a time). This is a movement much to be welcomed.\u003c\/p\u003e\u003cp class=\"body\"\u003eI start with the development on side 2, where both \nsubjects are treated, in part. The performers back up the composer \nsplendidly in keeping the ball in the air. How swimmingly it all goes, \nwith those sequences that make us feel that we are travelling in the \nluxury of the Blue Train: everything provided for, nothing to worry \nabout, and scenery just new enough to engage the eye above all, no \nforeign language to think of, for all around us speak that which we \nknow. The interlude before the end is a charming idea; then how swiftly \nthe composer whisks us to the finish: an entirely delightful piece of \nconstructive art.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe slow movement is equally strongly upborne, the \npianist attractively making sure that there is no sagging. After hearing\n the opening tune, one of my white-label sides is missing, so I resume \nin the middle section, and hear the last presentation of the friendly \ntune. In the liveliness the player gets rather hard, and he is not quite\n the finest singer upon the piano, is he? Yet he spreads a broad canvas \nthat suits the music.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe finale opens in the most engaging way with those \nmildly tantalizing gambits. There is a touch of the work's first theme \nin the three-time portion which follows the piano's first turn. The \nfull-flowing energy of the soloist is best to be appreciated in such \nclear-driving sections as this finale abounds in. In the last side but \none, the band is not too well unified in time with the pianist: that \nlack of recording rehearsal for the finest finish, which I have often \nnoted, is here again. Otherwise, I like the plain, sturdy handling of \nthe material by the conductor; and nobody can be ignorant of \nMoiseiwitsch's particular style and qualities. The music bears its heart\n on its sleeve, and so does the pianist. There is no attempt to \nmanufacture subtleties which the music does not seek. It is all plain, \nsimple, and cordial. I have heard finer tone from recorded orchestras, \nbut the discs are, in my estimation of the work and its requirements, \nquite adequate.\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eW.R.A., The Gramophone\u003c\/strong\u003e, January 1938\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34180454157,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34180454221,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34180454413,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34180454477,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC358.jpg?v=1489658574"},{"product_id":"pasc358-cd","title":"MOISEIWITCH plays Rachmaninov Piano Concertos 1 \u0026 2, Paganini Rhapsody (1937-48) - PASC358 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478156301,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478156365,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC358_814855ea-b42f-4ec3-baa7-6d953285b549.jpg?v=1658308652"},{"product_id":"pasc379-cd","title":"STOKOWSKI in Philadelphia, 17 December 1962 - PASC379 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478174093,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478174157,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC379_c78fd5de-3259-4e90-87bc-bdb373d4302f.jpg?v=1658309177"},{"product_id":"pasc379","title":"STOKOWSKI in Philadelphia, 17 December 1962 - PASC379","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003ePrelude to Act 3 of Lohengrin\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003eAlborada del Gracioso\u003cbr\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePetrushka Suite\u003cbr\u003e\u003cb\u003eVARIOUS \u003c\/b\u003eEncores\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 79:20 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI wonder if anyone uses Morse Code anymore. When I\n was very young I, at least, knew the signals for the letters S, O, and \nV. The V signal was “dot-dot-dot-dash,” coincidentally the same pattern \nas the opening notes of Beethoven’s Fifth Symphony. Bruno Walter \nrecorded the symphony with the New York Philharmonic a week after the \nU.S. entered World War II and Columbia Records issued the album with a \nbright red cover displaying a large white “V” with the \n“dot-dot-dot-dash” symbols under it. I guess anyone who saw the cover \ngot the message—Beethoven had been enlisted in the fight against fascism\n and the Fifth had become the “Victory Symphony.” That was the recording\n on which I learned the piece. Years ago, many conductors used to \nemphasize the “fate knocking at the door” image of the introduction by \ntaking it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolto pesante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e instead of the straight \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that the score calls for. I’ve never been able to make up my mind which\n way I prefer to hear it performed. I like hearing the opening done \nemphatically but when it’s done at a slower tempo than the exposition, \nit can sound like it starts on a downbeat and distorts the rhythmic \npattern instead of emphasizing it. Stokowski, not surprisingly, was one \nof the conductors who really dramatized the opening, both on his 1931 \nrecording with the Philadelphia Orchestra and, nearly a decade later, \nwith the All-American Youth Orchestra. I happen to be very fond of both \nof those recordings so, in this live performance, recorded at \nPhiladelphia’s Academy of Music in 1962, one with the same virtues as \nthe previous ones, he could be said, at least in my case, to be \npreaching to the choir, although I’ve never heard his 1969 recording. It\n has been the recent fashion for conductors to stick closely (or try to)\n to Beethoven’s metronome markings, observe all the repeats in the \nscore, and sometimes, even use instruments based on those of Beethoven’s\n time. Unfortunately, many of these conductors are neither individually,\n nor collectively, Stokowskis.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe opening radio announcement by the orchestra’s associate conductor, William R. Smith, includes Revueltas’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Given the CD’s 79-minute length, something had to give, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n can be downloaded free from Pristine’s website. What’s included on the \nCD is interesting enough. I wonder if those in attendance could even \nimagine the circumstances surrounding the symphony’s first performance \nback in 1808. Beginning with the premiere of the Sixth Symphony, the \nprogram continued with “Ah, perfido,” The Gloria from the Mass in C, the\n Piano Concerto No. 4, the Symphony No. 5, the Sanctus and Benedictus \nfrom the Mass in C, and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChoral Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e! They don’t make audiences like they used to.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis concert begins with a lively performance of the Prelude to act III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNie sollst Du mich befragen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n theme added to the ending. Since so many conductors add this, I assume \nit was Wagner’s decision to use it as a concert ending since, in the \nopera itself, the Prelude fades down directly into the opening music of \nthe act. Next, comes the principal (or certainly, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003elongest\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n work on the program, Beethoven’s Fifth Symphony. Stokowski offers an \nunhurried view of the music but the playing has plenty of rhythmic \nspring and textual clarity in addition to the juicy tone the orchestra \ncould produce 50 years ago. I think this is the first time I could \ndescribe a performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n as “sensuous.” Fate doesn’t knock at the door quite as deliberately \nthis time around and the performance, unless you are offended by some \nstretched cadences, is hardly eccentric. The string playing has plenty \nof bite to it, too. His tempos, at least in the first three movements \nare quite similar to Otto Klemperer’s though of course, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n performance, austere and weighty, inhabits a different sound world. \nTake away Klemperer’s observation of the outer movement repeats (neither\n taken by Stokowski) and you get these timings: I—Klemperer 7:12, \nStokowski 6:53; II—Klemperer 11:08, Stokowski 11:15; III—Klemperer 6:13,\n Stokowski 6:07. I do think that Klemperer’s finale could use more \nanimation because, even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eomitting\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the repeat, his performance times out at 10:53 to Stokowski’s 9:00. The\n latter’s has a more triumphant surge than Klemperer’s sober, monumental\n approach. If your tastes lie with even slower tempos, try to find \nFerenc Fricsay’s Berlin Philharmonic recording; I might as well provide \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n timings (omitting the first movement repeat, which he observes—like \nmost conductors, he ignores the one in the last movement): 7:29, 13:15 \n(!), 6:23, 9:30. I like the performance quite a bit but it may be a bit \nmuch for most listeners.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStravinsky eventually made a suite from his complete score for\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Petrouchka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n consisting of music from the First, Second, and Fourth Tableaux with a \nconcert ending replacing the final few minutes. It runs a bit under 25 \nminutes. I don’t know if that is an “official” edition of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetrouchka Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n since Stravinsky made two recordings of it, one of which (1940) uses \nless music from the First Tableau and starts about a minute into the \nFourth Tableau. I suspect that, on that occasion, Stravinsky was hemmed \nin by the limited length of 78 RPM sides. Stokowski, using a similarly \nabbreviated edition, starts his excerpt from Tableau No. 1 at a more \nlogical spot and starts the Fourth Tableau at the beginning. Granted, \nwhether in suite or complete form, the colorful, characterful music \nvirtually plays itself and it’s difficult to do a bad performance. \nConductors like Stokowski and Dimitri Mitropoulos relish the score’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egrotesquerie\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n more than most of their colleagues, to considerable effect. Since the \ncomplete score runs only about 10 minutes longer than the (official?) \nsuite, I wonder why conductors don’t just perform the whole thing. After\n hearing him conduct a performance of the suite, I asked Stravinsky why \nhe didn’t just conduct the entire piece and, for what it’s worth, he \ncomplained about a lack of rehearsal time.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski and the orchestra polish off the virtuoso theatrics of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlborada del gracioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the playful, tricky rhythms of Morton Gould’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGuarancha\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the third movement of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLatin-American Symphonette.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e The Jeremiah Clarke \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Prelude \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(formerly known as Purcell’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Voluntary\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n is presented with stately dignity and Stokowski somehow turns \nRachmaninoff’s very pianistic Prelude in C♯-Minor into an effective \norchestral piece. The concert comes to a decisive conclusion as the \nplayers gradually stroll off stage during the finale of Haydn’s \n“Farewell” Symphony to occasional chuckles from the audience. Basing his\n decision, in part, on Stokowski’s personal preferences, the producer \nhas enriched the normally dry sound of the Academy of Music with some \ndiscreet resonance. \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 37:1 (Sept\/Oct 2013) of Fanfare Magazine\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC379.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStokowski in Philadelphia, December 1962 - one of his finest Beethoven 5ths and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eAnother 24-96 ultra high-resolution transfer and download direct from Stokowski's own master tapes\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski's long association with The Philadelphia Orchestra began in 1912 when, at the age of 30, he gave his first concert in the city with the orchestra. He stayed in Philadelphia for almost thiry years, handing over to Eugene Ormandy at the end of the 1940-41 season. However, Stokowski returned in 1960 as a guest conductor and continued a series of occasional concerts with the orchestra in the years which followed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe present concert, which took place on 17 December 1962, is taken from broadcast master tapes originally held in the conductor's own archives, and supplied for transfer for this release by Edward Johnson, who for many years put great efforts into the running of the Stokowski Society, and who obtained a number of recordings from Stokowski's assistant, Jack Baumgarten. This is its first public issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs with the earlier concert from the same year (16 March 1962, issued as PASC372), we took the unusual step in preparing this release of making all transfers and restoration at a very high sampling rate of 96kHz in order to preserve the highest frequencies captured on tape. Although these exceptionally high frequencies cannot be reproduced on CD, they are available in a 24\/96 FLAC download from our website.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eRemastering took heed of Stokowski's frequent instruction to producers of his recordings. He liked a full and reverberant sound, as Edward Johnson explains: \"The thing to remember with Stokowski is that he started life as a church organist and in his recitals usually played orchestral works transcribed for the organ. So when he became a conductor he recalled the days when he had his feet on the deep 32' pedals and heard the final chord of the piece dying away down the nave for a couple of seconds. Consequently, his correction notes to record producers always asked for \"more lows\" and \"more reverberation,\" as in the example attached to the producer of his LP of the \"The Planets.\"\" [Letter reproduced \u003ca href=\"http:\/\/www.pristineclassical.com\/pasc372.html\"\u003ehere\u003c\/a\u003e] I have been careful in my application of this, using a convolution reverb of one of the world's great symphony halls to give the recording the space and texture lacking in the original radio tapes.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe December concert has at its heart a stirring performance of Beethoven's Symphony No. 5, but elsewhere Stokowski conducted a considerable chunk of 20th Century music. One piece, Revueltas's Sensemaya, which was played between the Ravel and Stravinsky, proved too long to fit onto this CD. It is, however, available to download for free here on our website and is featured as a bonus track in our FLAC downloads.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe concert featured a number of encores, including a couple of arrangements by Stokowski himself. The finale to the concert brings a light-hearted close to a concert which was put on as a fundraiser for the orchestra's pension fund, and conveys a sense of real warmth between the musicians and their audience.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Prelude to Act 3 of Lohengrin\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e \u003c\/strong\u003e (\u003cem\u003earr. Ravel\u003c\/em\u003e) Alborada del Gracioso (from \u003cem\u003eMiroirs\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eSTRAVINSKY \u003c\/strong\u003e\u003c\/strong\u003ePetrushka Suite\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003eENCORES\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCLARKE\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Trumpet Prelude (\u003cem\u003ePrince of Denmark's March\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOULD\u003c\/strong\u003e Guaracha \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Prelude in C sharp minor \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eHAYDN \u003c\/strong\u003e\u003c\/strong\u003eSymphony No. 45 in F sharp minor, \"Farewell\": Finale from 4th mvt \u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003e BONUS TRACK\u003c\/strong\u003e Included in all FLAC downloads\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVUELTAS\u003c\/strong\u003e Sensemaya\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Transfers from tapes compiled for Leopold Stokowski from the collection of Edward Johnson \u003cbr\u003e Recorded at the Academy of Music, Philadelphia, 17 December 1962, for broadcast by WFLN-FM\u003cbr\u003e Broadcast producer and announcer: William Smith\u003cbr\u003e Broadcast sound engineer: Fred Chassey \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe Philadelphia Orchestra\u003cbr\u003e Leopold Stokowski\u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, January-February 2013\u003cbr\u003e Cover artwork based on a photograph of Stokowski in Philadelphia, 1960\u003cbr\u003e \u003cbr\u003e Total duration: 79:20 \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\/PASC379.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC379.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":34192980685,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34192980877,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34192980941,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC379.jpg?v=1489682848"},{"product_id":"pasc266","title":"KATCHEN plays Dohnányi \u0026 Rachmaninov (1959) - PASC266","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDOHNÁNYI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eVariations on a Nursery Tune\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRACHMANINOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRhapsody on a Theme of Paganini\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 45:49 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJulius Katchen, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Pristine sound is deeper; the music suddenly acquires more dimensions. Rachmaninov in particular became even more spectacular\n578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe two works on this disc have much in common. Both are sets \n                  of variations on some well-known tune, each treats its theme \n                  rather liberally. They are as close to piano concertos as can \n                  be, but what distinguishes them from a concerto is the goal: \n                  the emphasis is not on the piano writing, but on the development \n                  of the music itself - the piano just happens to be the forward \n                  player. \u003cbr\u003e\n                  \u003cbr\u003e\n                  The \u003ci\u003eVariations on a Nursery Tune\u003c\/i\u003e by Dohnányi start with \n                  a brooding introduction, as if extracted from a Brahms symphony. \n                  It is full of grand gestures, blaring brass, full orchestral \n                  attacks, and does not hint at what will follow. No sign of a \n                  variation yet: its motifs are not based on the main theme of \n                  the work, except for the phrase of the horns. Instead, the music \n                  seems to come from the drafts of Wagner or Franck. The theme \n                  then comes as a big surprise - what? that's what it is all about? \n                  Mozart already based variations on \u003ci\u003eAh, vous dirai-je, Maman\u003c\/i\u003e \n                  (aka \u003ci\u003eTwinkle Twinkle Little Star\u003c\/i\u003e), but then the theme \n                  was not surrounded by such seriousness! \u003cbr\u003e\n                  \u003cbr\u003e\n                  The theme is presented very simply, with minimal accompaniment. \n                  The variations are extremely diverse, passing through an array \n                  of late-Romantic styles. Starting with merry runs of the glimmering \n                  piano, through a burlesque with brass calls, we arrive at a \n                  sensual and suave waltz which mixes Richard Strauss with Tchaikovsky. \n                  This is followed by a healthy, rustic scene a-la Dvorák, then \n                  by the song of glittering silver bells, and by a prankish quarrel \n                  of high woodwinds. Another grand waltz - this time \u003ci\u003enoble \n                  et sentimentale\u003c\/i\u003e, just as Ravel would have had it. A fast \n                  march, with dark wood-notes of bassoon and odour of boots and \n                  rifles, evokes the \u003ci\u003eTralali, Tralalei, Tralala\u003c\/i\u003e of Mahler. \n                  After it Holst's \u003ci\u003eUranus\u003c\/i\u003e is mixed with some young Shostakovich \n                  for a jumping, sharply accentuated and mischievous episode. \n                  The resemblance to the theme is barely heard by now. After a \n                  Brucknerian brass chorale, the strings sing a warm Romantic \n                  melody that could fit a Rachmaninov concerto. The swirl is tighter \n                  and tighter, the music becomes anxious and frenetic, the wave \n                  rises and erupts in a powerful Wagnerian climax. The next variation \n                  is reminiscent of planetary mechanics - grandiose and elegant. \n                  Next comes the golden filigree, with transparent lightness and \n                  \u003ci\u003ejoie de vivre\u003c\/i\u003e. Suddenly the theme returns and reminds \n                  us how simple the source of all this richness and variety was. \n                  A short, jubilant ending wraps all up. \u003cbr\u003e\n                  \u003cbr\u003e\n                  If it is your first introduction to the Dohnányi Variations, \n                  you should be aware of its subtitle: “For the enjoyment of humorous \n                  people and for the annoyance of the others”. In all the faux \n                  pathos of the Wagnerian introduction, the pregnant pauses and \n                  the overexcited climaxes, the composer is jesting, making fun \n                  of almost every name popular in 1914. Katchen enjoys wearing \n                  all these masks, and plays with bravura and character. Together \n                  with Boult, they produce sparkles and a lot of fun. \u003cbr\u003e\n                  \u003cbr\u003e\n                  The same forces in the same year and venue recorded Rachmaninov's \n                  \u003ci\u003eRhapsody\u003c\/i\u003e. Unlike Dohnányi’s work, this is a developing \n                  story, like music to a ballet. The variations are bold and adventurous, \n                  projecting the famous theme by Paganini in all possible directions. \n                  Its demonic and lyrical sides are explored all the way to deepest \n                  abysses and highest peaks. The \u003ci\u003eDies irae\u003c\/i\u003e motif is recurring, \n                  as it appears to be a close relative of the theme. We spend \n                  much time in the midnight world of the \u003ci\u003eSymphonic Dances\u003c\/i\u003e. \n                  The episodes are not separate, as in Dohnányi Variations, but \n                  form a cinematographic chain of scenes - ghostly, heroic, sinister, \n                  triumphant. The orchestration is colorful and inventive. The \n                  performance is rather on the \"fast and furious\" side, \n                  the piano is recorded closer than on Dohnányi, and its sound \n                  is grand yet beautiful. The entire work is done compactly and \n                  coherently. The coordination between the soloist and the orchestra \n                  is excellent, both rhythmically and dynamically. The 18th Variation \n                  is not over-sugared. The last few variations are performed with \n                  white-hot intensity and are positively mind-shattering. All \n                  in all, if somebody wants to have just one single version of \n                  this work, this recording could be an excellent candidate. \u003cbr\u003e\n                  \u003cbr\u003e\n                  I may be wrong, but it seems to me that these are the same performances \n                  that were recorded by Decca\/London and issued in the \u003ci\u003eJulius \n                  Katchen II\u003c\/i\u003e volume of the Philips series \"Great Pianists \n                  of the 20th Century\" (those brown \"books\"). However, \n                  the sound quality is definitely different, as the Pristine record \n                  benefits from an XR re-mastering by Andrew Rose - a new transfer \n                  from the original tapes. While the difference is not radical, \n                  it is noticeable if you compare side by side. The Decca\/Philips \n                  record has more tape hiss, but the sound there is more unified. \n                  The tape hiss was tamed on the Pristine record - not completely, \n                  and is still rather noticeable in Rachmaninov. The Pristine \n                  sound is deeper; the music suddenly acquires more dimensions. \n                  Rachmaninov in particular became even more spectacular. The \n                  surrounding ambience is rather \"dead\" in Philips, \n                  more \"alive\" in Pristine. This is all great, but at \n                  the same time the minor fluctuations that were veiled before \n                  have become more apparent now. Andrew Rose in his restoration \n                  notes mentions a tendency to mild distortion during brass peaks, \n                  and I still hear it. So, the new restoration is better for loudspeakers, \n                  but probably worse if you listen via headphones. Also, Pristine \n                  put each work in a single track, while Philips has each variation \n                  on a separate track, which is more convenient. Philips also \n                  has the benefit of the company: the generously filled double-disc \n                  set also contains both Ravel's concertos, Liszt's Second, Prokofiev's \n                  Third, \u003ci\u003eRhapsody in Blue\u003c\/i\u003e and a rondo by Beethoven - a \n                  true constellation! If you already have it, you probably won't \n                  need this new release. The liner-note is minimal and not very \n                  informative. \u003cbr\u003e\n                  \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eOleg Ledeniov\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC266.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eKatchen's wonderful stereo Dohnányi and Rachmaninov\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"poise, poetry, glitter, and in the Dohnányi a sense of humour\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThese stereo recordings were made in London by Decca for issue domestically in the UK in May 1960, a few short months after London Records issued them in the USA.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAt the time there were four release formats - the 33rpm long playing vinyl record, in mono or stereo, and the quarter-inch open reel tape, likewise available in mono and stereo formats. Both had their merits and their shortcomings - LPs may suffer from surface noise, clicks, ticks, crackle and so forth, as well as end of side distortion, swish, off-centre pressings and so on.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eTape would therefore, on the face of it, have a number of advantages, with none of the above being an issue. However, in the pre-Dolby days tape hiss was a perennial issue, frequency range was sometimes slightly less than that of the LP, magnetic drop-out was a risk, as was tape flutter and - as with the LP - simple wear of the magnetic surface. The present recordings were transferred from quarter-track stereo open reel Ampex tape at 7.5 inches per second, issued commercially by London in the USA.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA Revox B77 quarter-track machine was used for the transfer, perhaps the highest quality tape deck ever made for this format, which rarely saw professional use. Beyond the aforementioned tape hiss, which has been gently but significantly tamed using digital noise reduction, the tape also suffered from a surprising amount of very-low-end rumble and a tendency to mild distortion during brass peaks, both of which have been dealt with during restoration. Frequency response generally was excellent, and the overall tonal balance remains largely faithful to the superb original.\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\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDOHNANYI \u003c\/b\u003eVariations on a Nursery Tune, Op. 25 \u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in stereo by Decca, 12th January, 1959, Kingsway Hall, London \u003cbr\u003e Produced by Michael Williamson Engineered by Kenneth Wilkinson\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003eRhapsody on a Theme of Paganini, Op. 43\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded in stereo by Decca, 1st May, 1959, Kingsway Hall, London \u003cbr\u003e Stereo recording produced by Erik Smith Stereo recording engineered by Alan Reeve \u003cbr\u003e (A separate engineer and producer team recorded this piece for the mono issue.)\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eThese recordings were first issued on LP in the USA as London CS6153 (and in mono as CM9262) in February 1960, \u003cbr\u003e and in the UK as Decca SXL2176 (and in mono as LXT5550) in May 1960.\u003cbr\u003e \u003cbr\u003e Transfers taken from London \"Full Frequency Stereo Tape\" (ffst) LCL-80036, 1\/4-track at 7.5IPS \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e Julius Katchen, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e London Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003e conductor \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2011 \u003cbr\u003e Cover artwork based on a photograph of Julius Katchen\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 45:49 \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\/PASC266.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC266.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":34513185357,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34513185421,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34513185485,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC266.jpg?v=1490111887"},{"product_id":"pasc266-cd","title":"KATCHEN plays Dohnányi \u0026 Rachmaninov (1959) - PASC266 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine 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\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded 1958\/59\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 66:22 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePeter Katin, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003eNew Symphony Orchestra of London\u003cbr\u003eSir Adrian Boult, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eColin Davis, \u003c\/b\u003econductor \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC273.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003ePeter Katin in superb virtuoso form for these piano classics\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFabulous stereo Decca recordings show why they were the best!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis release brings together recordings made by Decca both for the domestic British market and for its US label, Richmond, in the late 1950s. By this time Decca had been recording in stereo for half a decade and had thoroughly mastered the art, producing some of the highest quality recordings of the era. For these transfers I used later Decca pressings in excellent to near-mint condition, followed by my standard XR remastering techniques. It is a measure of how well the recordings were made that XR, often a very interventionist procedure, made only the slightest tweaks to the sound - something unlikely just a very few years earlier. The transfers were made at the request of Dr. Katin, and it is my pleasure to be able to present them both to him and to a wider audience.\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\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRACHMANINOV \u003c\/strong\u003e Piano Concerto No. 1 in F sharp minor, Op. 1\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e London Philharmonic Orchestra\u003cbr\u003e \u003c\/strong\u003e conducted by \u003cstrong\u003eSir Adrian Boult\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 17-19 February, 1958, Kingsway Hall, London\u003cbr\u003e Stereo recording produced by Ray Minshull, first issued as Decca SXL 2034 in May 1959 \u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e Piano Concerto No. 2 in C minor OP. 18\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNew Symphony Orchestra of London\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eColin Davis\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 8 May, 1959, Kingsway Hall, London\u003cbr\u003e Stereo recording produced by Erik Smith, first issued as Richmond S29059 in December 1959\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLITOLFF\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e Concerto Symphonique No. 4 OP. 102 - 2nd mvt - \u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cem\u003e\u003cstrong\u003eScherzo\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003eLondon Philharmonic Orchestra\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econducted by \u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eColin Davis\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 2 October, 1959, Kingsway Hall, London\u003cbr\u003e Stereo recording produced by Erik Smith, first issued as Richmond S29061 in June 1960\u003c\/span\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003ePeter Katin\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Peter Katin\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 66:22 \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\/PASC273.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC273.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":14087846363197,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":14087846395965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":14087846428733,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":14087846461501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC273_610fb7d4-8c3b-4c69-a35e-854a8e76a170.jpg?v=1553591251"},{"product_id":"pasc273-cd","title":"KATIN Rachmaninov \u0026 Litolff Piano Concertos (1958\/59) - PASC273 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":14087846297661,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":14087846330429,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC273.jpg?v=1658246609"},{"product_id":"pasc183","title":"ORMANDY conducts Stravinsky and Rachmaninov (1950-55) - PASC183","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePetrushka Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Rite of Spring\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePreludes\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1950. 1954 and 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 66:10\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Eugene Ormandy\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC183.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eOrmandy's excellent recordings of C20 Russian classics\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;\"\u003eDigitally remastered and issued for the first time since their LP releases\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e \u003c\/p\u003eThese transfers, made by Edward Johnson from his own collection, bring together three excellent recordings made in the first half of the 1950s by Eugene Ormandy of Russian classics of the 20th Century. The two works by Stravinsky will be familiar to most, though the Petrushka Suite is a cut-down version to that found on most recordings today, and Ormandy plays through the two parts of The Rite of Spring as if they were one, with no gap - possibly in order to squeeze the entire work onto a single LP side. Both recordings have responded very well to XR remastering - with excellent transfers of near mint LPs going a very long way to assist in this. The remastering has revealed an openness and depth to the recordings which, in their original incarnations, were sonically quite restricted, revealing altogether more enjoyable and satisfying performances than one might have gleaned from hearing the original LPs.\n\u003cbr\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eCailliet's Rachmaninov orchestrations, themselves rarely heard, are the only recordings Ormandy made of these delightful pieces. Alas, stepping back from 1954 to early 1950 one is only too aware of how much progress in capturing good sound had been made in the intervening years, and these three short recordings presented much greater challenges in restoration and remastering. A combination of poorer original acoustics and higher background hiss and noise, particularly in the second of the three recordings, all had to be overcome, and I'm quietly pleased with the results I was able to obtain. If you've never heard these Preludes played by an orchestra, they're well worth investigating - and if you're a fan of Ormandy, they're essential!\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003ci\u003eAndrew Rose\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eStravinsky\u003c\/strong\u003e - Petrushka Suite\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRecorded 7th November, 1954\u003c\/strong\u003e\u003cbr\u003e Transfer from Columbia LP ML5030\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eStravinsky\u003c\/strong\u003e - The Rite of Spring\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRecorded 24th April and 14th May, 1955\u003c\/strong\u003e\u003cbr\u003e Transfer from Columbia LP ML5030\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRachmaninov\u003c\/strong\u003e - Preludes (orch. Cailliet):\u003cbr\u003e Prelude in C sharp minor, Op. 3 No. 2 \u003cbr\u003e Prelude in G major, Op. 32 No. 5 \u003cbr\u003e Prelude in G minor, Op. 23 No. 5\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRecorded 4th February 1950\u003c\/strong\u003e\u003cbr\u003e Transfer from Columbia LP ML2158\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from vinyl by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, August 2009\u003cbr\u003e Cover artwork based on a photograph of Eugene Ormandy\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 66:10 \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\/PASC183.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC183.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":36095503437,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205577556302,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205577589070,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205577621838,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC183_31b876b0-bde0-4d6a-8e1c-bfbcfa546e23.jpg?v=1492431833"},{"product_id":"pasc183-cd","title":"ORMANDY conducts Stravinsky and Rachmaninov (1950-55) - PASC183 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478324813,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205577523534,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC183_e78ae167-0a6c-4207-ad04-437c7ad950ad.jpg?v=1658243132"},{"product_id":"pakm072","title":"HOROWITZ Live at Carnegie Hall, Volume 2 (1948) - PAKM072","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcert of 2 April 1948\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003eMusic by\u003cb\u003e Beethoven, Schubert, Mussorgsky, Chopin, Debussy, Liszt, Rachmaninov, Scarlatti, Mozart, Sousa\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  79:27 (CD) \u0026amp; 91:23 (Download, includes encores)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVladimir Horowitz, \u003c\/b\u003epiano\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDon’t hesitate: These are exceptional, even transcendent, releases578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStarting in 1995, RCA sporadically issued a series\n of discs containing previously unreleased excerpts from a dozen or so \nconcerts given by Vladimir Horowitz between 1945 and 1950. That material\n later reappeared, although differently organized, in Sony’s huge \n42-disc \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHorowitz at Carnegie Hall\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n box. Now Pristine has offered us the entirety of two of those \nconcerts—minus most of the encores (more on that later)—giving us nearly\n two hours of Horowitz performances that are apparently new to the \ncatalog.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSo, how are they? In his interview in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 41:3, Pavel Gintov described Horowitz as follows: “There are artists \nwho are very egocentric and still great: Vladimir Horowitz is one of \nthose. He really wants to be the center of attention. You can hear him \npresent in all music that he plays.…I don’t want to sound like I’m \ncriticizing him. I love Horowitz, I’m just trying to say that you can \nalways hear him playing himself. When he plays Beethoven he plays \nhimself and when he plays Scarlatti or when he plays Chopin, he plays \nhimself.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf the description is hyperbolic, it’s only \nslightly hyperbolic, and it certainly applies to the interpretations \nhere, where Horowitz is consistently playing himself. But what a \nhimself! From first note to last, these are astonishing performances, \nand while purists and the faint of heart might find it all too much, \nother pianophiles will probably be transfixed. I’m not sure whether or \nnot Horowitz reached his peak in the late 1940s, but listening to these \ndiscs will probably persuade you that he did.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHorowitz, of course, is often described (sometimes\n with a sneer) as a barn-burner, and there is plenty of incendiary \nplaying here, not only in “The Great Gate of Kiev” and in the truly \nterrifying left-hand-octave climax of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFunérailles\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n but in the climaxes of the Chopin First Ballade and elsewhere as well. \nBut for every moment of unparalleled thunder, there are half a dozen \nothers where the pianist draws the most delicate sounds from the \ninstrument. In the ending of the first movement of the Kabalevsky Third \nSonata, for instance, or the ending of the Chopin First Impromptu, there\n are sounds few other pianists could match. But there’s a lot more than \nhis handling of extremes (which would have to include, besides the \nextremes of dynamics, his often radical rubato as well). For instance, \nthere’s the exceptional voicing that draws unfamiliar lines from the \ntexture, in some cases (like the first movement of the Kabalevsky) \nmaking the music sound more interesting that it really is. Then, there’s\n the variety of articulation. As his performance of the Chopin Fantasie \nmakes clear, he can be not only as sharp as anyone, but also as \nluxurious, and the shifts from one to the other (and to numerous stages \nin between) keep you consistently alert. There are moments of seductive \ncharm, too (the gracious curl of the opening of the Kabalevsky, the \nScriabin Poem). There’s tremendous wit here as well, not only in the \nsurprises that dot his extremely pianistic reading of the Haydn Sonata, \nbut also in the giddiness of the outer sections of the Chopin Impromptu \nand in the ending of the Debussy Étude.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the end, the most striking general quality is \nthe consistent eventfulness of the performances. And nowhere is this as \nevident as it is in this reading of his notorious edition of \nMussorgsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. As a teenager, under the thrall of Richter, I thought of Horowitz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePictures\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (which I knew from his studio account) as bangy. But while there \ncertainly is plenty of sheer spectacle (and not only in the four-hand \nillusion of the final measures), this 1948 recording is equally notable \nfor its interpretive invention: have the unborn chicks ever danced with \nmore wit? Indeed, few pianists differentiate among the pictures quite as\n dramatically as Horowitz does. This reading, arguably even closer to \nthe edge than his studio version or even his 1951 Carnegie Hall taping, \nhasn’t quite dislodged my loyalty to the Richter, but I surely wouldn’t \nwant to be without it.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the encores: Pristine includes a slightly \nedited version of the Scarlatti Sonata that served as the first encore \nof the second concert (the opening measures were missing and had to be \nspliced from their reappearance later on), but the rest of the encores \n(including scorching readings of Horowitz’s version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eStars and Stripes Forever\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from the first concert and his Variations on the Mendelssohn Wedding \nMarch from the second) couldn’t be fit onto the already generous discs. \nThey are included in the downloadable equivalents of these releases on \nthe Pristine site and as free bonuses to people who buy the CDs—except \nin the United States, where a copyright spat has blocked all downloads \nof this material. Since they’re made in and shipped from France, \nhowever, the physical discs can still be purchased stateside, something \nthat I’d urgently recommend, especially since the Sony set (and most of \nthe RCA material) is currently hard to find, at least in CD format. The \nnotes, as usual for Pristine, are minimal; but Andrew Rose seems to have\n drawn excellent sound from his sources. Don’t hesitate: These are \nexceptional, even transcendent, releases. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003ePeter J. Rabinowitz  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eThis article originally appeared in Issue 41:4 (Mar\/Apr 2018) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 10px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 10px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM072.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eHot on the heels of last month's opening volume in this collection of previously-unissued recordings made for pianist Vladimir Horowitz by the in-house Carnegie Hall Recording Company onto acetate 78rpm discs, I'm delighted to bring you this second concert, the last of the 1947-48 season, which took place on the evening of Friday 2 April, 1948, exactly two months after the previous concert.\u003cbr\u003e\u003cbr\u003eHere the only duplicate from the previous concert is the Schubert \u003ci\u003eImpromptu\u003c\/i\u003e, once again the second item in the concert; again there's a short, single-movement Scarlatti sonata, and again the concert ended with a Horowitz-enhanced showpiece, in this case an astounding rendition of Sousa's \u003ci\u003eStars and Stripes Forever. \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eAs with the previous concert the total duration of about an hour and a half leaves it just a few minutes too long for a single CD, but disappointingly short if spread over two discs. As the series progresses we should build up a collection of Horowitz encores sufficient for a CD release of their own - in the meantime if you wish to hear the \"extras\" - the Sousa, Chopin's \u003ci\u003eNocturne \u003c\/i\u003ein F sharp, Op. 15 No. 2 and Mozart's \u003ci\u003eRondo alla Turca\u003c\/i\u003e - you'll find them in the free MP3 download which comes when you purchase this CD at Pristine Classical. Naturally our FLAC and MP3 downloads include all tracks.\u003cbr\u003e\u003cbr\u003eIf anything, the present release exceeds Volume One in terms of sound quality and may well prove the best-preserved of all these concerts, making my job considerably easier than usual. One minor point I should make: the opening 11 bars of the Scarlatti were not captured. By careful editing and the removal of an extraneous note decay, I was able to use the repeat of the opening to replace the missing section. It is interesting to see how incredibly closely and precisely the playing of that repeat matched what we do have of its first incarnation in both timing and nuance - I have little doubt that the playing of the opening bars would likewise have sounded just as it does in the recreation created here.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003eAndrew Rose\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\u003e1. \u003cb\u003eBEETHOVEN \u003c\/b\u003e32 Variations in C minor, WoO 80  (10:19)\u003c\/p\u003e\u003cp\u003e2. \u003cb\u003eSCHUBERT \u003c\/b\u003eImpromptu in G flat major, Op.90 No.3, D899  (6:42)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMUSSORGSKY  \u003c\/b\u003ePictures at an Exhibition\u003cbr\u003e3. Promenade  (1:30)\u003cbr\u003e4. 1. Gnomus  (2:21)\u003cbr\u003e5. Promenade (2nd)  (0:49)\u003cbr\u003e6. 2. Il Vecchio Castello  (3:29)\u003cbr\u003e7. Promenade (3rd)  (0:31)\u003cbr\u003e8. 3. Tuilleries  (1:02)\u003cbr\u003e9. 4. Bydlo  (2:39)\u003cbr\u003e10. Promenade (4th)  (0:38)\u003cbr\u003e11. 5. Ballet de Poussins dans leurs Coques  (1:16)\u003cbr\u003e12. 6. Samuel Goldenberg und Schmuyle  (2:08)\u003cbr\u003e13. 7. Limoges, Le Marché  (1:16)\u003cbr\u003e14. 8. Catacombae  (1:11)\u003cbr\u003e15. Con Mortuis in Lingua Mortua  (2:30)\u003cbr\u003e16. 9. La Cabane sur des Pattes de Poule  (3:04)\u003cbr\u003e17. La Porte des Bohatyrs de Kiev  (4:17)\u003c\/p\u003e\u003cp\u003e18. \u003cb\u003eCHOPIN \u003c\/b\u003eBallade No. 4 in F minor, Op 52  (9:57)\u003c\/p\u003e\u003cp\u003e19. \u003cb\u003eDEBUSSY \u003c\/b\u003eSérénade à la poupée (No. 3 from Coin des Enfants)  (2:56)\u003cbr\u003e20. \u003cb\u003eDEBUSSY \u003c\/b\u003eÉtude pour les huit doigts (No. 6 from Etudes, Livre 1)  (1:31)\u003c\/p\u003e\u003cp\u003e21. \u003cb\u003eLISZT \u003c\/b\u003eFunerailles (No. 7 from Harmonies poétiques et religieuses III, S.173)  (9:51)\u003c\/p\u003e\u003cp\u003e22. \u003cb\u003eRACHMANINOV \u003c\/b\u003ePrelude in G major, Op.32 No.5  (3:05)\u003cbr\u003e23. \u003cb\u003eRACHMANINOV \u003c\/b\u003ePrelude in G minor, Op.23 No.5  (3:44)\u003c\/p\u003e\u003cp\u003e24. \u003cb\u003eSCARLATTI \u003c\/b\u003eSonata in A, K 322, L 483  (2:41)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eEncores \u003c\/b\u003e- Included in downloads only (NB. CD includes MP3 download of these items)\u003c\/p\u003e\u003cp\u003e25. \u003cb\u003eMOZART \u003c\/b\u003eRondo alla Turca (from Piano Sonata No. 11 in A, K.331)\u003cbr\u003e26. \u003cb\u003eCHOPIN \u003c\/b\u003eNocturne in F-sharp major, Op. 15, No. 2\u003cbr\u003e27. \u003cb\u003eSOUSA-HOROWITZ\u003c\/b\u003e Stars and Stripes Forever\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eVladimir Horowitz \u003c\/b\u003e   piano\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Vladimir Horowitz\u003cbr\u003e\u003cbr\u003eRecorded 2 April1948\u003cbr\u003eCarnegie Hall, New York City\u003cbr\u003e\u003cbr\u003eTotal duration:  79:27 (CD) \u0026amp; 91:23 (Download)\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\/PAKM072.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM072.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":3478906339354,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205550621006,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205550653774,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM072_d0e0495d-7857-4fde-be8e-b6bdf435dcb1.jpg?v=1643366946"},{"product_id":"pakm072-cd","title":"HOROWITZ Live at Carnegie Hall, Volume 2 (1948) - 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Yet, what\n        is perhaps less well-known is that this recording has existed in two\n        almost entirely different versions over the years, with a performance\n        that was not Rachmaninov’s first choice being the only one available\n        for half of its history. The present release brings the two together\n        for the first time.\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    In the early days of electrical recording, it was the Victor label’s\n    practice to record at least two and often three takes of each side. One\n    would be approved for release, with the remainder being held as backups or\n    marked for destruction. In the case of the present set, the recording logs\n    show that for Sides 1, 5, 6, 9 and 10, three takes were made for each, with\n    two takes taken down for the remaining sides. Rachmaninov himself chose the\n    takes that were originally issued when the set was brought out in 1929.\n\u003c\/p\u003e\n\u003cp\u003e\n    By the early 1940s, Victor began drawing on saved alternate takes to\n    replace sides in some of their best-selling older recordings, due to\n    increased wear on the original metal “mothers” which had been used for\n    years to grow new stampers. Sometimes for an album set, this might mean\n    replacing one or two sides. The present recording, however, stands alone in\n    the number of substituted sides: nine out of ten, with only the original\n    Side 4 retained because the sole alternate take had already been destroyed.\n\u003c\/p\u003e\n\u003cp\u003e\n    The “blue history cards” currently on file at the Sony archives, which\n    document which takes were used for each side and when they were put into\n    production, show that these substitutions were made in 1942 and continued\n    to be employed for the remainder of the set’s catalog life during the 78\n    rpm era. The recording logs also state that the substitute takes were used\n    for all of RCA’s LP releases, from the first in 1951 to “The Complete\n    Rachmaninoff” 15-LP set issued in 1973. It was not until 1987 that the\n    original takes were first reissued on CD by RCA. Thus, for 45 of its 89\n    years in the catalog (1942 to 1987), entire generations only got to know\n    this performance from the substitute takes. (An additional alternate take\n    for Side 9 had been issued in 1940, and was only available for two years.\n    This has never appeared on an extended-play reissue before the present\n    release.)\n\u003c\/p\u003e\n\u003cp\u003e\n    It is fascinating to compare the takes of each side and speculate as to why\n    Rachmaninov preferred one over the other. Sometimes, there are obvious\n    errors that show why a take was not originally favored; but at other times,\n    there are subtle differences in phrasing and timing that suggest a composer\n    trying out different approaches with his most famous and beloved concerted\n    work. Through it all, he has the support of Stokowski at his most\n    impassioned, and his “Fabulous Philadelphians”, the ensemble which\n    Rachmaninov himself once claimed was perhaps “the finest orchestra the\n    world has ever heard.”\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eRACHMANINOV: Piano Concerto No. 2 in C minor, Op. 18\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        \u003ca name=\"OLE_LINK2\"\u003eVersion 1: Originally-issued takes (publ. 1929)\u003c\/a\u003e\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    1st Mvt.: \u003ci\u003eModerato – Allegro\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. Side 1 (mm. 1 – 109) matrix CVE 48963-3 (3:05)\u003cbr\u003e2. Side 2 (mm. 109 – 261) matrix CVE 48964-1 (3:27)\u003cbr\u003e3. Side 3 (mm. 261 – end) matrix CVE 48965-1 (3:18)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003cbr\u003e2nd Mvt.: \u003ci\u003eAdagio sostenuto\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. Side 4 (mm. 1 – 39) matrix CVE 48966-1 (2:57)\u003cbr\u003e5. Side 5 (mm. 39 – 78) matrix CVE 48967-3 (2:25)\u003cbr\u003e6. Side 6 (mm. 79 – 129) matrix CVE 48968-2 (2:35)\u003cbr\u003e7. Side 7 (mm. 129 – end) matrix CVE 48969-1 (2:46)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e3rd Mvt.: \u003ci\u003eAllegro scherzando\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8. Side 8 (mm. 1 – 162) matrix CVE 48970-2 (3:51)\u003cbr\u003e9. Side 9 (mm. 162 – 356) matrix CVE 48971-2 (3:41)\u003cbr\u003e10. Side 10 (mm. 356 – end) matrix CVE 48972-1 (3:24)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVersion 2: Substitute takes (\u003c\/strong\u003e\u003cstrong\u003e\u003ca name=\"OLE_LINK2\"\u003epubl. \u003c\/a\u003e\u003c\/strong\u003e\u003cstrong\u003e1942)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    1st Mvt.: \u003ci\u003eModerato – Allegro\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    11. Side 1 (mm. 1 – 109) matrix CVE 48963-2 (3:00)\u003cbr\u003e12. Side 2 (mm. 109 – 261) matrix CVE 48964-2 (3:24)\u003cbr\u003e13. Side 3 (mm. 261 – end) matrix CVE 48965-2 (3:20)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2nd Mvt.:\u003ci\u003e Adagio sostenuto\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    14. Side 4 (mm. 1 – 39) matrix CVE 48966-1 (2:57)\u003cbr\u003e15. Side 5 (mm. 39 – 78) matrix CVE 48967-1 (2:24)\u003cbr\u003e16. Side 6 (mm. 79 – 129) matrix CVE 48968-3 (2:31)\u003cbr\u003e17. Side 7 (mm. 129 – end) matrix CVE 48969-2 (2:49)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e3rd Mvt.: \u003ci\u003eAllegro scherzando\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    18. Side 8 (mm. 1 – 162) matrix CVE 48970-1 (3:50)\u003cbr\u003e19. Side 9 (mm. 162 – 356) matrix CVE 48971-3 (3:43)\u003cbr\u003e20. Side 10 (mm. 356 – end) matrix CVE 48972-3 (3:25)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAdditional alternate take (\u003c\/strong\u003e\u003cstrong\u003e\u003cstrong\u003e\u003ca name=\"OLE_LINK2\"\u003epubl. \u003c\/a\u003e\u003c\/strong\u003e1940)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    3rd Mvt.: \u003ci\u003eAllegro scherzando\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    21. Side 9 (mm. 162 – 356) matrix CVE 48971-1 (3:47)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSergei Rachmaninov (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e Leopold Stokowski conducting The Philadelphia Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAll takes were recorded on 10th and 13th April 1929 in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\n    First issued on Victor 8148 through 8152 in album M-58\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK3\"\u003e\n        Special thanks to Jim Cartwright’s Immortal Performances, Inc. and\n        Richard Kaplan for providing source material\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 66:41\n\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\/PASC521.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC521.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":3451696971802,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205548949838,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC521.jpg?v=1516349738"},{"product_id":"pasc521-cd","title":"RACHMANINOV plays Rachmaninov (1929) - 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Strauss, Sibelius\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e and others\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1924-28\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  3hr 0:20 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Cleveland Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eNikolai Sokoloff\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC524.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release celebrates the centenary of the Cleveland Orchestra by\n    presenting all of the early recordings made under its founding conductor,\n    Nikolai Sokoloff. While a few of them were reissued by the orchestra itself\n    a quarter century or more ago on limited edition LPs or CDs, the majority\n    are being made available here for the first time in over eighty years.\n\u003c\/p\u003e\n\u003cp\u003e\n    Nikolai Sokoloff was born in Kiev in 1886, and moved to New Haven,\n    Connecticut with his parents when he was 13 years old. Four years later, he\n    became a violinist with the Boston Symphony. He studied music at Yale, and\n    also privately with Charles Martin Loeffler. Following this, he went to\n    Paris to continue his studies with D’Indy, and conducted in Manchester.\n\u003c\/p\u003e\n\u003cp\u003e\n    Returning to America, he directed the San Francisco People’s Philharmonic\n    Orchestra (1916 - 1917), where he insisted on the then-unheard of practice\n    of hiring women players and paying them the same as men. He was approached\n    by Cleveland impresario Adella Prentiss Hughes with an offer to organize\n    musical education there. Sokoloff accepted with one condition: an orchestra\n    would need to be created that he would lead. On December 11th, 1918, the\n    Cleveland Orchestra gave its first performance. By 1922, Sokoloff felt the\n    ensemble was ready for its first Carnegie Hall appearance.\n\u003c\/p\u003e\n\u003cp\u003e\n    Two years later, Sokoloff and the orchestra began a series of recordings\n    for the Brunswick label, then a major player in the American market\n    alongside Victor and Columbia. Their recordings fall neatly into three\n    periods: acoustic discs, which, after a single New York session in January,\n    1924 that produced the \u003cem\u003e1812 Overture\u003c\/em\u003e, were made in Cleveland in\n    October of the same year; early electric “Light-Ray” recordings, also made\n    in Cleveland in May of 1926 in a warmly reverberant venue which was\n    probably the Masonic Auditorium, used by the orchestra before Severance\n    Hall was built in 1931; and a final group of electrics made back in New\n    York two years later, most likely in the Chapter Room of Carnegie Hall,\n    where Brunswick had previously recorded the New York Philharmonic under\n    Mengelberg and Toscanini.\n\u003c\/p\u003e\n\u003cp\u003e\n    While the sound of the acoustic recordings compares well with their\n    counterparts on Victor and Columbia, the early electrics were more\n    problematic. The “Light-Ray” method was developed by General Electric as an\n    offshoot of an early sound-on-film recording process, using photoelectric\n    cells to transmit sound optically to a disc cutting head, rather than the\n    electrical impulses used by the rival Western Electric system. At lower\nvolume levels, the results could be acceptable; however, anything    \u003cem\u003eforte\u003c\/em\u003e and above came out congested and harshly distorted. By the\n    time of the orchestra’s final sessions in 1928, Brunswick had abandoned\n    this system for Western Electric’s.\n\u003c\/p\u003e\n\u003cp\u003e\n    The repertoire chosen for the most part reflected the same kind of light\n    Classics that had been best sellers for other orchestras during the\n    acoustic and early electric eras, usually heavily abridged in order to fit\n    onto a single side or disc. Only with the final sessions in 1928 do we see\n    entire, uncut works being attempted. (The Schubert \u003cem\u003eUnfinished\u003c\/em\u003e even\n    features the first movement repeat, a rarity in those days.)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK6\"\u003e\u003c\/a\u003e\n    \u003ca name=\"OLE_LINK5\"\u003e\n        What we hear on these recordings is an ensemble that already sounds\n        superior to most of its European counterparts at the time, save perhaps\n        for Mengelberg’s Concertgebouw Orchestra. String portamento is used\n        surprisingly sparingly for the period, and reserved mainly for the\n        Russian Romantic repertoire. Ensemble playing is generally good, as are\n        the instrumental soloists, particularly Joseph Fuchs, the concertmaster\n        heard in the 1928 recordings. And Sokoloff is revealed as an energetic,\n        often imaginative interpreter (although some of the swift tempi - like\n        the mad dash through the “Presto ma non assai” section of the Brahms\n        Second Allegretto - seem more dictated by recording timing constraints\n        than interpretive choice).\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Far and away the most ambitious recording Sokoloff made with the orchestra\n    was the gramophonic première of the Rachmaninov Second Symphony. The\n    conductor had first approached Rachmaninov in 1919 about making cuts to the\n    nearly hour-long work in order to make it more palatable to audiences.\n    Rachmaninov agreed that he had been “more voluble” in his younger days, and\n    proceeded to craft what was intended to be a new performing edition.\n\u003c\/p\u003e\n\u003cp\u003e\n    Not only did the composer cut music he considered redundant, but he also\n    changed some harmonies and assigned a new tempo marking for the second\n    movement. The 1928 set presented here is the only recording of this\n    version. The next recording, made by Eugene Ormandy in Minneapolis in 1934,\n    cut even more out of the score, and became the \u003cem\u003ede facto\u003c\/em\u003e performing\n    version in the US and elsewhere until the 1960s.\n\u003c\/p\u003e\n\u003cp\u003e\n    After leaving Cleveland in 1932, Sokoloff was appointed director of the\n    Federal Music Project (1935 - 1939), a New Deal program created to employ\n    musicians and encourage music appreciation during the Depression. From 1938\n    through 1941, he was music director of the Seattle Symphony. In 1941, he\n    settled in La Jolla, California, where he organized the La Jolla Musical\n    Arts Festival Orchestra. With them, he made several LP recordings in the\n    early 1950s, featuring works by Rozsa and Lopatnikoff for the Concert Hall\n    label and by Dello Joio, Martinů and Britten for Alco Records. He died in\n    La Jolla in 1965.\n\u003c\/p\u003e\n\u003cp\u003e\n    Following the 1928 sessions, the Cleveland Orchestra would not stand before\n    the recording microphones for another eleven years, when it began a long\n    association with Columbia Records - first under Artur Rodzinski, who had\n    been its music director since 1933, and then, briefly, with Erich Leinsdorf\n    before George Szell arrived for his long tenure (1946 - 1970). But the\n    seeds of the Cleveland Orchestra’s later international success were already\n    present in these recordings made within the first decade of its existence.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eCD 1 (60:58)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eThe Acoustic Recordings (1924)\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\u003eTCHAIKOVSKY 1812 Overture, Op. 44\u003c\/strong\u003e (8:49)\u003cbr\u003eRecorded 23 January 1924 in New York City\u003cbr\u003eFirst issued on Brunswick 50047\n\u003c\/p\u003e\n\u003cp\u003e\n    2.\n    \u003cstrong\u003e\n        J. STRAUSS II On the Beautiful Blue Danube - Waltz, Op. 314\n    \u003c\/strong\u003e\n    (4:09)\u003cbr\u003eRecorded 2 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50052\n\u003c\/p\u003e\n\u003cp\u003e\n3.    \u003cstrong\u003eJ. STRAUSS II Tales from the Vienna Woods - Waltz, Op. 325\u003c\/strong\u003e\n    (4:25)\u003cbr\u003eRecorded 3 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50052\n\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eSIBELIUS Valse Triste (from Kuolema, Op. 44)\u003c\/strong\u003e (2:45)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15092\n\u003c\/p\u003e\n\u003cp\u003e\n    5. \u003cstrong\u003eSIBELIUS Finlandia - Symphonic Poem, Op 26\u003c\/strong\u003e (4:20)\u003cbr\u003eRecorded 2 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50053\n\u003c\/p\u003e\n\u003cp\u003e\n    6. \u003cstrong\u003eSCHUMANN Träumerei (Kinderszenen, Op. 15, No. 7)\u003c\/strong\u003e (3:33)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15091\n\u003c\/p\u003e\n\u003cp\u003e\n    7. \u003cstrong\u003eDVOŘÁK Slavonic Dance in D major, Op. 46, No. 3\u003c\/strong\u003e (3:15)\u003cbr\u003eRecorded 4 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15091\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eBRAHMS Hungarian Dance No. 5 in G minor\u003c\/strong\u003e (2:35)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15092\n\u003c\/p\u003e\n\u003cp\u003e\n    9.\n    \u003cstrong\u003e\n        BRAHMS Symphony No. 2 in D major, Op 73 - 3rd Mvt. - Allegretto\n    \u003c\/strong\u003e\n    (4:19)\u003cbr\u003eRecorded 4 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50053\n\u003c\/p\u003e\n\u003cp\u003e\n    10. \u003cstrong\u003eWAGNER Lohengrin - Prelude to Act 3\u003c\/strong\u003e (3:07)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15090\n\u003c\/p\u003e\n\u003cp\u003e\n    11. \u003cstrong\u003eWAGNER Lohengrin - Bridal Chorus (Act 3)\u003c\/strong\u003e (3:15)\u003cbr\u003eRecorded 5 October 1924 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15090\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe “Light-Ray” Electrics (1926)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    12. \u003cstrong\u003eWAGNER Lohengrin - Prelude to Act 3\u003c\/strong\u003e (3:11)\u003cbr\u003eRecorded 1 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15121 (matrix E 19234)\n\u003c\/p\u003e\n\u003cp\u003e\n    13. \u003cstrong\u003eWAGNER Lohengrin - Bridal Chorus (Act 3)\u003c\/strong\u003e (3:18)\u003cbr\u003eRecorded 1 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15121 (matrix E 19237)\n\u003c\/p\u003e\n\u003cp\u003e\n    14. \u003cstrong\u003eTCHAIKOVSKY 1812 Overture, Op. 44\u003c\/strong\u003e (9:58)\u003cbr\u003eRecorded 1 and 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50090 (matrices XE 19243 \u0026amp; 19131)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (58:09)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eThe “Light-Ray” Electrics (1926) - continued\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eTCHAIKOVSKY The Sleeping Beauty, Op. 20, No. 6 - Waltz\u003c\/strong\u003e\n    (4:09)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15120 (matrix E 19134)\n\u003c\/p\u003e\n\u003cp\u003e\n    2.\n    \u003cstrong\u003e\n        RIMSKY-KORSAKOV (arr. Victor Herbert) Sadko - Song of India\n    \u003c\/strong\u003e\n    (3:13)\u003cbr\u003eRecorded 1 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15120 (matrix E 19238)\n\u003c\/p\u003e\n\u003cp\u003e\n    3. \u003cstrong\u003eRACHMANINOV Prelude in C-sharp minor, Op. 3, No. 2\u003c\/strong\u003e\n    (3:54)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 15189 (matrix E 19147)\n\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eNICOLAI The Merry Wives of Windsor - Overture\u003c\/strong\u003e (4:25)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50089 (matrix XE 19138)\n\u003c\/p\u003e\n\u003cp\u003e\n    5. \u003cstrong\u003eSAINT-SAËNS Danse Macabre, Op. 40\u003c\/strong\u003e (4:44)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50089 (matrix XE 19135)\n\u003c\/p\u003e\n\u003cp\u003e\n    6. \u003cstrong\u003eHALVORSEN Entry March of the Boyars\u003c\/strong\u003e (5:31)\u003cbr\u003eRecorded 3 May 1926 in Cleveland\u003cbr\u003eFirst issued on Brunswick 50149 (matrix XE 19145)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe Final Electrics (1928)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eSCHUBERT Symphony No. 8 in B minor, D759, ‘Unfinished’\u003c\/strong\u003e\u003cbr\u003e7. 1st Mvt.: Allegro moderato (12:29)\u003cbr\u003e8. 2nd Mvt.: Andante con moto (12:05)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded on 8\/9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 50150\/2 (matrices XE 27505\/9 \u0026amp; 27520)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e9. \u003cstrong\u003eDELIBES Coppelia - Entr’acte and Valse\u003c\/strong\u003e (3:14)\u003cbr\u003eRecorded on 7 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15189 (matrix E 27482)\n\n\u003c\/p\u003e\u003cp\u003e\n    10.\n    \u003cstrong\u003e\n        PIERNÉ Cydalise et le Chêvre-Pied - Entrance of the Little Fauns\n    \u003c\/strong\u003e\n    (2:08)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15181 (matrix E 27527)\n\u003c\/p\u003e\n\u003cp\u003e\n    11. \u003ca name=\"OLE_LINK2\"\u003e\u003c\/a\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\n        \u003cstrong\u003eGRAINGER Shepherd’s Hey (A Morris Dance)\u003c\/strong\u003e\n    \u003c\/a\u003e\n    (2:15)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15181 (matrix E 27522)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 3 (61:18)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eThe Final Electrics (1928) - continued\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSIBELIUS Valse Triste (from Kuolema, Op. 44)\u003c\/strong\u003e (3:42)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 50149 (matrix XE 27521)\n\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003eBORODIN Polovtsian Dances (from Prince Igor, Act 2)\u003c\/strong\u003e\n    (11:19)\u003cbr\u003eRecorded 9 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 15184\/5 (matrices E 27523\/6)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eRACHMANINOV Symphony No. 2 in E minor, Op. 27\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. Largo (15:33)\u003cbr\u003e4. 2nd Mvt. Allegro molto (8:11)\u003cbr\u003e5. 3rd Mvt. Adagio (12:27)\u003cbr\u003e6. 4th Mvt. \u003ca name=\"OLE_LINK4\"\u003e\u003c\/a\u003e\u003ca name=\"OLE_LINK3\"\u003eAllegro vivace\u003c\/a\u003e\n    (10:05)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 7\/8 May 1928 in New York City\u003cbr\u003eFirst issued on Brunswick 50143\/8 (matrices XE 27483\/9, 27499 \u0026amp;\n    27500\/3)\n\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\u003eNikolai Sokoloff ∙ The Cleveland Orchestra\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 \u003cb\u003eMark Obert-Thorn\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003ca name=\"OLE_LINK8\"\u003e\u003c\/a\u003e\n    \u003ca name=\"OLE_LINK7\"\u003e\n        Special thanks to Nathan Brown, Jim Cartwright’s Immortal Performances,\n        Inc., Frederick P. Fellers, Michael Gartz, the collection of the late\n        Bob Hunter, Richard Kaplan, and Charles Niss for providing source\n        material\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e\u003cu\u003eNote\u003c\/u\u003e\u003c\/em\u003e\n    Matrix numbers were not shown on the original acoustic discs. Since during\n    this period a different matrix number was used for each take, the actual\n    matrix used could be one of several numbers. As a result, they have not\n    been listed here, although they are shown for the electrical recordings.\n\u003c\/p\u003e\u003cp\u003eCover artwork based on a photograph of \u003cb\u003eNikolai Sokoloff\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  3hr 0:20 \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\/PASC524.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC524.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":7173870878781,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205548392782,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC524_cba6f86e-f4d6-4dda-9566-65dc60a3b5e9.jpg?v=1521823080"},{"product_id":"pasc524-cd","title":"NIKOLAI SOKOLOFF And The Cleveland Orchestra - Complete Recordings (1924-28) - PASC524 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC524.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs with case \u0026 artwork (+MP3)","offer_id":3592703246362,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":false},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205548360014,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC524_9344eab5-6d0d-44d3-959b-64d37744493b.jpg?v=1658745190"},{"product_id":"pasc532","title":"The Music of LUCIEN CAILLIET Volume Two (1935-52) - PASC532","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIVALDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eConcerto for Two Violins \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRACHMANINOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Three Preludes\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCAILLIET \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Birthday Fantasy\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWorks by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJ. S. Bach, Buxtehude, Debussy\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e and \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings, 1935-52\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 69:12\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWerner Janssen ∙ Janssen Symphony of Los Angeles\u003cbr\u003eCharles O’Connell ∙ Victor Symphony Orchestra\u003cbr\u003eEugene Ormandy ∙ Minneapolis Symphony Orchestra\u003cbr\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003cbr\u003eArthur Fiedler ∙ Boston “Pops” Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC532.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The present program is the second devoted to the transcriptions and\n    compositions of Lucien Cailliet (1891 – 1985), clarinetist of the\n    Philadelphia Orchestra during the Stokowski era, and later teacher and film\n    music orchestrator. For more on his biography, including the controversy\n    surrounding the role he played in Stokowski’s transcriptions, the reader is\n    referred to our first volume (PASC 444).\n\u003c\/p\u003e\n\u003cp\u003e\n    In Bach’s Toccata and Fugue in D minor, Cailliet seems intent on distancing\n    himself from the famous Stokowski version, at a couple points adding a\n    brass counterpoint over the arpeggios of the lower strings. The recording\n    dates from Cailliet’s Hollywood days, and comes from the soundtrack of a\n    1946 nature film short which presents a day in Bryce Canyon, Utah.\n    Janssen’s orchestra plays with vigor, although with an occasionally scrappy\n    ensemble that would never be confused with Stokowski’s Philadelphians.\n\u003c\/p\u003e\n\u003cp\u003e\n    The orchestra in the following track, however, might well be confused with\n    the Philadelphia – appropriately so, as they were the same ensemble playing\n    under a nom-de-disque. Charles O’Connell was a conductor, arranger and\n    organist in addition to being Victor’s Classical A\u0026amp;R Director, and led\n    the Philadelphia Orchestra on some of its 1936 cross-county tour dates.\n    Cailliet here expands the strings-and-continuo of Bach’s original to\n    include winds and brass.\n\u003c\/p\u003e\n\u003cp\u003e\n    Eugene Ormandy was a champion of Cailliet’s transcriptions even while he\n    was still leading the Minneapolis Symphony. The third selection was\n    Cailliet’s first credit in the recording logs as an orchestrator, even\n    though the side remained unissued until the LP era. Ormandy continued his\n    efforts on his behalf in Philadelphia, recording several of his\narrangements and commissioning Cailliet’s orchestration of Mussorgsky’s    \u003cem\u003ePictures at an Exhibition\u003c\/em\u003e. The Prelude and Fugue in B minor was\n    probably recorded to follow up Ormandy’s recording of Cailliet’s\n    transcription of Bach’s Prelude and Fugue in F minor (one Volume 1), but\n    it, too, was unpublished on 78 rpm.\n\u003c\/p\u003e\n\u003cp\u003e\n    The next two transcriptions feature works by Bach’s contemporaries.\n    Buxtehude’s Organ Passacaglia in D minor has often been cited as an\n    inspiration for Bach’s Passacaglia and Fugue in C minor. Cailliet\n    emphasizes the connection by adding a preface stating the unadorned bass\n    line. And at a time when Vivaldi was known almost exclusively for his\n    Concerto Grosso in D minor in various modern arrangements, Cailliet sought\n    to widen the composer’s renown with a full-orchestra version of one of his\n    violin double concertos.\n\u003c\/p\u003e\n\u003cp\u003e\n    Taking leave of the Baroque era, Cailliet’s Debussy transcription was\n    recorded three times by Ormandy; this is his first. By contrast, Ormandy\n    only recorded the three Rachmaninoff preludes once, on a 10-inch LP. When\n    they were reissued as a filler on a later 12-inch disc, the Prelude in C\n    sharp minor was omitted. (Could someone have felt it was too over-the-top?)\n\u003c\/p\u003e\n\u003cp\u003e\n    Cailliet’s efforts were appreciated not only in Philadelphia. Arthur\n    Fiedler recorded several of his works with his Boston “Pops”, including the\n    famous Tchaikovsky song heard here and his “Pop! Goes the Weasel”\n    Variations (on Volume 1). Our program ends with Fiedler’s recording of\n    another of Cailliet’s fantasies on a well-known tune, “Happy Birthday to\nYou”, a work which also inspired Stravinsky to write his    \u003cem\u003eGreeting Prelude\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\n        \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eThe Music of Lucien Cailliet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003eTranscriber \u003c\/span\u003e\u003c\/span\u003e\u003ca name=\"OLE_LINK4\"\u003e\u003c\/a\u003e\u003ca name=\"OLE_LINK3\"\u003e\u003cspan style=\"font-size: 17px;\"\u003e∙ \u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-size: 17px;\"\u003e\n            Arranger ∙ Composer\n        \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\n    \u003c\/span\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003eVolume Two\u003c\/span\u003e\u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003eBACH-CAILLIET: Toccata and Fugue in D minor, BWV 565 \u003c\/strong\u003e\n    (9:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1946 in Los Angeles\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WJ-1001, WJ-1002-1-RE (Artist Records AR-1001\/2)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e2.    \u003cstrong\u003eBACH-CAILLIET: Air from Suite No. 3 in D major, BWV 1068 \u003c\/strong\u003e\n    (3:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 May 1939 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CS 035849-1 (Victor 36233)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e3.\n    \u003cstrong\u003e\n        BACH-CAILLIET: Organ Prelude, “Herzlich tut mich verlangen”, BWV 727\u003c\/strong\u003e (2:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1935 in the Northrop Auditorium, Minneapolis\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: BVE 87510 (Unissued on 78 rpm)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e4. \u003cstrong\u003eBACH-CAILLIET: Prelude and Fugue in B minor, BWV 544\u003c\/strong\u003e\n    (8:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 May 1938 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 022374\/5 (Unissued on 78 rpm)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e5. \n    \u003ca name=\"OLE_LINK1\"\u003e\n        \u003cstrong\u003eBUXTEHUDE-CAILLIET: Passacaglia in D minor, BuxWV 161\u003c\/strong\u003e\n    \u003c\/a\u003e\n    (6:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the NBC broadcast of 28 March 1937 from the Academy of Music,\n    Philadelphia (Previously unissued)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVIVALDI-CAILLIET: Concerto for Two Violins in A minor, Op. 3, No. 8\u003c\/strong\u003e\u003cstrong\u003e (from L’estro armonico)\u003c\/strong\u003e\u003cbr\u003e6. Allegro (4:28)\u003cbr\u003e7. Larghetto e spiritoso (5:38)\u003cbr\u003e8. Allegro (4:25)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 8 January 1939 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eMatrix nos.: CS 030905\/8 (Unissued on 78 rpm)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e9. \u003cstrong\u003eDEBUSSY-CAILLIET: Clair de lune (from Suite bergamasque)\u003c\/strong\u003e\n    (4:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 December 1954 in the Academy of Music (Columbia ML-4983)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRACHMANINOV-CAILLIET: Three Preludes\u003c\/strong\u003e\u003cbr\u003e10. Prelude in C sharp minor, Op. 3, No. 2 (4:53)\u003cbr\u003e11. Prelude in G major, Op. 32, No. 5 (3:25)\u003cbr\u003e12. Prelude in G minor, Op. 23, No. 5 (3:43)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 2 April 1950 in the Academy of Music, Philadelphia (Columbia\n    ML-2158)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e13.\n    \u003cstrong\u003e\n        TCHAIKOVSKY-CAILLIET: None but the lonely heart, Op. 6, No. 6\n    \u003c\/strong\u003e\n    (3:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 June 1949 in Symphony Hall, Boston (RCA Victor LM-1790)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e14. \u003cstrong\u003eCAILLIET: The Birthday Fantasy\u003c\/strong\u003e (3:30)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 June 1952 in Symphony Hall, Boston (RCA Victor LM-1790)\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \n    \u003ca name=\"OLE_LINK5\"\u003e \u003c\/a\u003e\n    \u003ca name=\"OLE_LINK9\"\u003e\n        \u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca name=\"OLE_LINK9\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca name=\"OLE_LINK9\"\u003e\u003cstrong\u003eWerner Janssen ∙ \u003c\/strong\u003e\n        Janssen Symphony of Los Angeles\n    \u003c\/a\u003e\n    \u003cem\u003e(Track 1)\u003c\/em\u003e\u003ca name=\"OLE_LINK10\"\u003e\u003cstrong\u003e\u003cbr\u003eCharles O’Connell ∙ \u003c\/strong\u003e\n        Victor Symphony Orchestra\n    \u003c\/a\u003e\n    \u003cem\u003e(Track 2)\u003c\/em\u003e\u003ca name=\"OLE_LINK12\"\u003e\u003cstrong\u003e\u003cbr\u003eEugene Ormandy ∙\u003c\/strong\u003e\n        Minneapolis Symphony Orchestra\n    \u003c\/a\u003e\n    \u003cem\u003e(Track 3)\u003c\/em\u003e\u003ca name=\"OLE_LINK13\"\u003e\u003cstrong\u003e\u003cbr\u003eEugene Ormandy ∙\u003c\/strong\u003e \u003c\/a\u003e\n    \n    \u003ca name=\"OLE_LINK17\"\u003eThe Philadelphia Orchestra \u003c\/a\u003e\n    \u003cem\u003e(Tracks 4 – 12)\u003c\/em\u003e\u003cbr\u003e\u003ca name=\"OLE_LINK15\"\u003e\u003cstrong\u003eArthur Fiedler ∙ \u003c\/strong\u003e\n        Boston “Pops” Orchestra\n    \u003c\/a\u003e\n    \u003cem\u003e(Tracks 13 – 14)\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n    \u003ca name=\"OLE_LINK7\"\u003e\n        \u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca name=\"OLE_LINK7\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\n    \u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003eCover artwork based on photographs of\u003cb\u003e Lucien Cailliet\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  69:12\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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(+MP3)","offer_id":8067260055613,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205547180366,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC532_5c9fb25c-5cb6-4938-9eda-2a7f1a003cbc.jpg?v=1658745414"},{"product_id":"pasc544","title":"RACHMANINOV plays Rachmaninov: Piano Concertos 1-4, Paganini Rhapsody (1929-41) - PASC544","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePaganini Rhapsody\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1929-1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 17:25\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSergei Rachmaninov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEugene Ormandy \u0026amp; Leopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC544.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Over a period of eighteen years involving a single record label, a single\n    ensemble and its two successive music directors, Sergei Rachmaninov set\n    down his complete works for piano and orchestra. He started with his most\n    beloved concerto, the C minor, in an acoustic recording of the second and\n    third movements with Leopold Stokowski and the Philadelphia Orchestra,\n    begun in December of 1923 and completed the following month. The results\n    were successful enough to warrant recording the first movement in December,\n    1924; but because of the advent of electrical recording shortly thereafter,\n    this portion was never released on 78 rpm discs. (The complete recording is\n    available on Pristine PASC 471).\n\u003c\/p\u003e\n\u003cp\u003e\n    By April, 1929, recording technology had improved to the extent that a\n    remake of the Second Concerto was warranted. This time, the venue was the\n    orchestra’s home, the Academy of Music. Forces no longer had to be reduced,\n    nor did any more re-scoring need to be done in order for the music to\n    register over acoustic phonographs. As was the practice of the time,\n    multiple takes of each side were made. In 1942, as the metal parts began to\n    show wear, Victor substituted nine of the ten sides of the album with\n    backup takes. Both versions were transferred on Pristine PASC 521, although\n    here, the takes originally approved by the composer-pianist are presented.\n\u003c\/p\u003e\n\u003cp\u003e\n    The next work to be recorded was the \u003cem\u003ePaganini Rhapsody\u003c\/em\u003e, set down\n    only seven weeks after its November, 1934 première. Due to the economic\n    constraints of the Depression, Victor was holding its sessions in a\n    converted Camden church using reduced forces. It was recorded in one take\n    with no pauses, with the original engineers fading down one side on one\n    cutting turntable while they faded up the next side on another. (The two\n    cutters were running at different speeds with different volume levels,\n    which made linking the sides together for this transfer challenging.) The\n    non-stop recording approach lends a great momentum and energy to the\n    performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    It was as a result of a Rachmaninov Festival planned by the orchestra’s new\n    director, Eugene Ormandy, that the First and Third Concertos were recorded\n    in December, 1939, with a make-up session two months later. Victor had\n    wanted to record the composer in these works; but Rachmaninov bargained to\n    have them let him conduct a recording of his Third Symphony in exchange.\n    The originals were recorded at a very high volume level, at the expense of\n    cutting the bass to avoid blasting. I have tried to coax as much bass as\n    possible from the original discs to present a more natural sound in these\n    transfers.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Fourth Concerto, composed in 1926 and premièred by the composer under\n    Stokowski the following year, had not been part of the festival due to the\n    composer’s having withdrawn it in 1931 for further revision after its\n    initial poor critical reception. The recording in December, 1941 followed\n    the first performances of the final version. The composer continued to make\n    changes to the orchestration up to the recording session, some of which are\n    not reflected in the published score. It was fortuitous that Victor took a\n    gamble on this work with a troubled past when it did. The following summer,\n    the first Petrillo Ban on recording went into effect; and before it was\n    over, Rachmaninov was dead.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eRACHMANINOV plays Rachmaninov\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (65:34)\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 RACHMANINOV: Piano Concerto No. 2 in C minor, Op. 18\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Moderato – Allegro (9:49)\u003cbr\u003e2. 2nd Mvt.: Adagio sostenuto (10:43)\u003cbr\u003e3. 3rd Mvt.: Allegro scherzando (10:56)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 and 13 April 1929 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 48963-3, 48964-1, 48965-1, 48966-1, 48967-3, 48968-2,\n    48969-1, 48970-2, 48971-2 \u0026amp; 48972-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 8148 through 8152 in album M-58\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eRACHMANINOV: Piano Concerto No. 3 in D minor, Op. 30\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt.: Allegro ma non tanto (13:56)\u003cbr\u003e5. 2nd Mvt.: Intermezzo: Adagio (8:40)\u003cbr\u003e6. 3rd Mvt.: Finale: Alla breve (11:29)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 December 1939 and 24 February 1940 in the Academy of Music,\n    Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 045627-1, 045628-1, 045629-1, 045630-1, 045631-1,\n    045632-2A, 045633-1, 045634-3 \u0026amp; 045635-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 17481 through 17485 in album M-710\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 2 (71:50)\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 RACHMANINOV: Piano Concerto No. 1 in F sharp minor, Op. 1\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Vivace (12:10)\u003cbr\u003e2. 2nd Mvt.: Andante (5:27)\u003cbr\u003e3. 3rd Mvt.: Allegro vivace (7:31)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 December 1939 and 24 February 1940 in the Academy of Music,\n    Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 045621-2, 045622-2, 045623-2, 045624-1, 045625-3 \u0026amp;\n    045626-3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 18374 through 18376 in album M-865\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRACHMANINOV: Piano Concerto No. 4 in G minor, Op. 40\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt.: Allegro vivace (9:47)\u003cbr\u003e5. 2nd Mvt: Largo (6:02)\u003cbr\u003e6. 3rd Mvt.: Allegro vivace (8:49)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 December 1941 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 071277-2, 071278-2, 071279-1A, 071280-1A, 071281-1,\n    071282-1, 071283-1 \u0026amp; 071284-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 11-8611 through 11-8614 in album M-972\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRACHMANINOV: Rhapsody on a Theme of Paganini, Op. 43\u003c\/strong\u003e\u003cbr\u003e7. Introduction. Allegro vivace (0:08)\u003cbr\u003e8. Variation 1 (Precedente) (0:21)\u003cbr\u003e9. Tema. L’istesso tempo (0:20)\u003cbr\u003e10. Variation 2. L’istesso tempo (0:19)\u003cbr\u003e11. Variation 3. L’istesso tempo (0:25)\u003cbr\u003e12. Variation 4. Più vivo (0:30)\u003cbr\u003e13. Variation 5. Tempo precedente (0:29)\u003cbr\u003e14. Variation 6. L’istesso tempo (0:52)\u003cbr\u003e15. Variation 7. Meno mosso, a tempo moderato (0:59)\u003cbr\u003e16. Variation 8. Tempo I (0:33)\u003cbr\u003e17. Variation 9. L’istesso tempo (0:31)\u003cbr\u003e18. Variation 10. L’istesso tempo (0:50)\u003cbr\u003e19. Variation 11. Moderato (1:13)\u003cbr\u003e20. Variation 12. Tempo di minuetto (1:18)\u003cbr\u003e21. Variation 13. Allegro (0:29)\u003cbr\u003e22. Variation 14. L’istesso tempo (0:45)\u003cbr\u003e23. Variation 15. Più vivo scherzando (1:04)\u003cbr\u003e24. Variation 16. Allegretto (1:20)\u003cbr\u003e25. Variation 17. Allegretto (1:42)\u003cbr\u003e26. Variation 18. Andante cantabile (2:35)\u003cbr\u003e27. Variation 19. A tempo vivace (0:36)\u003cbr\u003e28. Variation 20. Un poco più vivo (0:36)\u003cbr\u003e29. Variation 21. Un poco più vivo (0:26)\u003cbr\u003e30. Variation 22. Marziale. Un poco più vivo (Alla breve) (1:38)\u003cbr\u003e31. Variation 23. L’istesso tempo (0:49)\u003cbr\u003e32. Variation 24. A tempo un poco meno mosso (1:16)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 December 1934 in Church Studio No. 2, Camden, New Jersey\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 87066 through 87071 (all Take 1)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 8553 through 8555 in album M-250\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSergei Rachmaninov (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eThe Philadelphia Orchestra\u003cbr\u003eEugene Ormandy \u003c\/strong\u003e\n    (Concertos 1, 3 and 4)\u003cstrong\u003e\u003cbr\u003eLeopold Stokowski\u003c\/strong\u003e\n    (Concerto 2, Paganini Rhapsody)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cbr\u003e\n    \n    \u003ca name=\"OLE_LINK2\"\u003e\n        Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/a\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eSergei Rachmaninov\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal duration: 2hr 17:25\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\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\/PASC544.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC544.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":13380694310973,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205544034638,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC544_7756fafc-c3e4-4d2c-b3e1-df7caaa291ac.jpg?v=1542352600"},{"product_id":"pasc544-cd","title":"RACHMANINOV plays Rachmaninov: Piano Concertos 1-4, Paganini Rhapsody (1929-41) - 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As in previous releases, the\n    listener can marvel at the glorious pianism of a musician who left behind\n    no commercial solo discs and who is today enjoying worldwide appreciation\n    by a new generation of piano fans.\n\u003c\/p\u003e\n\u003cp\u003e\nThis compilation opens with a live recording of    \u003cem\u003eGavottes I \u0026amp; II\u003c\/em\u003e from Bach’s \u003cem\u003eEnglish Suite No.3\u003c\/em\u003e, an\n    encore at a 1961 concert that took place shortly after Spivakovsky’s\nrelease from hospital (the same week as the Beethoven    \u003cem\u003eConcerto No.4\u003c\/em\u003e from Volume 7 and the same concert as the\n    Bach-Busoni \u003cem\u003eD Minor Concerto\u003c\/em\u003e from a future release). Jascha plays\n    with his trademark rhythmic vitality and clarity of voicing in a reading\n    that also showcases his beautiful tone and fluid phrasing.\n\u003c\/p\u003e\n\u003cp\u003e\nThe centrepiece of this disc is a stirring account of Brahms’ titanic    \u003cem\u003eSonata No.3 in F Minor\u003c\/em\u003e, a key work in Spivakovsky’s repertoire.\n    The second movement was one of his favourite works in the entire piano\n    literature, which might easily be surmised when listening to his poetic\n    reading: time stands still with his magical pacing and sumptuous phrasing.\n    The entire performance is grandly conceived, his noble approach never\n    tipping into the bombast often heard in the work, thanks to his lyrical\n    phrasing and transparent textures.\n\u003c\/p\u003e\n\u003cp\u003e\n    Unfortunately, the final moments of the last movement were missing from the\n    tape that the ABC provided the pianist of the 1953 broadcast. After much\n    deliberation as to whether issue an incomplete recording or not release it\n    at all, it was decided that Jascha’s son Michael would coach a skilled\n    student on how his father played these passages so as to complete the\n    performance - a small price to pay to be able to enjoy such a glorious\n    account of this masterpiece by this great artist.\n    \u003cbr\u003e\n    \u003cbr\u003e\n    A series of shorter works enable us to appreciate Spivakovsky’s tremendous\nversatility and masterful music-making. His account of Mendelssohn’s    \u003cem\u003eVenetian Gondola Song\u003c\/em\u003e is characterized by its fluid melodic line\nand emotive timing, while Glazunov’s rarely-played    \u003cem\u003eGavotte in D Major\u003c\/em\u003e is notable for its rhythmic buoyancy, deft\narticulation, and poised voicing. Debussy’s    \u003cem\u003eDr. Gradus ad Parnassum\u003c\/em\u003e features beautiful textures and attentive\n    shaping, while Rachmaninoff’s \u003cem\u003ePrelude in G Major\u003c\/em\u003e has a soaring\n    singing line and rich rubato. A fascinating rarity are two works by\n    Norwegian composer Harald Saeverud (the first was dedicated to Jascha) that\n    capture to perfection the pianist’s gorgeous tonal palette and masterful\n    pedal technique.\n\u003c\/p\u003e\n\u003cp\u003e\n    Kabelevsky’s \u003cem\u003eSonata No.3\u003c\/em\u003e is presented here in a mid-1950s BBC\n    broadcast (a later home recording was issued in Vol.1 of this series): this\n    magnificent interpretation is both refined and impassioned, Spivakovsky’s\n    tonal colours and subtle timing highlighting the dramatic nature of the\n    work. To close, we have Liadov’s \u003cem\u003eMusical Snuff Box\u003c\/em\u003e (with the\n    spoken announcement to this encore concert performance by Jascha himself),\n    played with glistening tonal and pedal effects - a delightful conclusion to\n    yet another revealing collection of marvellous performances by the great\n    Jascha Spivakovsky.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eMark Ainley\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSPIVAKOVSKY \u003c\/b\u003eBach to Bloch, Volume 9\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBACH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnglish Suite No. 3 in G minor, BWV 808\u003c\/span\u003e\u003cbr\u003e1. V. Gavotte I  (1:23)\u003cbr\u003e2. VI. Gavotte II (ou La  Musette) and da capo  (1:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: in concert, 1961\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Sonata No. 3 in F minor, Op. 5\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Allegro maestoso  (7:58)\u003cbr\u003e4. 2nd mvt. - Andante espressivo  (12:31)\u003cbr\u003e5. 3rd mvt. - Scherzo. Allegro energico - Trio  (4:26)\u003cbr\u003e6. 4th mvt. - Intermezzo. Andante molto  (3:26)\u003cbr\u003e7. 5th mvt. - Finale. Allegro moderato ma rubato  (8:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: ABC, 1953\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003eMENDELSSOHN \u003c\/b\u003eSongs Without Words, Op 30, No 6 - Venetian Gondola Song  (3:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: on Spivakovsky's \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eown \u003c\/span\u003eSteinway, c.1964\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e9. \u003cb\u003eGLAZUNOV \u003c\/b\u003e3 Morceaux, Op 49 - 3. Gavotte  (4:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded:ABC, c.1955\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e10. \u003cb\u003eDEBUSSY \u003c\/b\u003eChildren's Corner - 1. Dr Gradus ad Parnassum  (2:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: on Spivakovsky's \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eown \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eBlüthner, 1961|\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e11.  \u003cb\u003eRACHMANINOV  \u003c\/b\u003ePreludes Op 32 - 5. Moderato  (3:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: on Spivakovsky's \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eown \u003c\/span\u003eBlüthner, 1961\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e12. \u003cb\u003eSAEVERUD \u003c\/b\u003eLette Stykker Vol. 1, Op 14 - 7. Rondo amoroso  (3:34)\u003cbr\u003e13. \u003cb\u003eSAEVERUD \u003c\/b\u003eLette Stykker Vol. 2, Op 18 - 2. Smafulg-vals (Little Bird Waltz)  (2:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: BBC, c.1953\/4\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKABALEVSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Sonata No. 9 in F Major, Op. 46\u003c\/span\u003e\u003cbr\u003e14. 1st mvt. - Andante con moto  (5:59)\u003cbr\u003e15. 2nd mvt. - Andante cantabile  (5:19)\u003cbr\u003e16. 3rd mvt. - Allegro giocoso  (4:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: BBC, c.1953\/4\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e17. \u003cb\u003eLIADOV \u003c\/b\u003eThe Musical Snuff Box, Op. 32  (2:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded: NZBC, c.1955\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJascha Spivakovsky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e© and (P) 2019 Pristine Audio \u0026amp; The Spivakovsky Jubilee \u003cbr\u003eXR remastered by Andrew Rose\u003c\/p\u003e\u003cp\u003eTotal duration: 78:09\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM081.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM081.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":30494300373053,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205538005326,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205538038094,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM081.jpg?v=1570458509"},{"product_id":"pakm081-cd","title":"SPIVAKOVSKY Bach to Bloch, Volume 9 (1953-61) - 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Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eCARPENTER \u003c\/b\u003eAdventures in a Perambulator\u003c\/span\u003e\u003cbr\u003emusic by \u003cb\u003eGRAINGER, GRIFFES, SOWERBY, ENESCU, WEINBERGER\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1934\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 34:02\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMinneapolis Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC652.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This volume is the first in a series which will present the complete\n    recordings of Eugene Ormandy and the Minneapolis Symphony Orchestra (now\n    the Minnesota Orchestra), originally made for the Victor label in 1934 and\n    1935 and never before reissued in their entirety. It will include many disc\n    premières, including the Kodály, Griffes and Carpenter works featured in\n    the present release.\n\u003c\/p\u003e\n\u003cp\u003e\n    Born Jenő Blau in Budapest in 1899, Ormandy entered the Royal National\n    Hungarian Academy of Music at the age of five and studied violin there\n    under Jenő Hubay. With plans for a career as a violin soloist, Ormandy came\n    to America in 1921 for a recital tour; but when arrangements fell through,\n    he found himself jobless in New York City. Securing a position in the last\n    seat of the second violins in a cinema accompanying silent films, he rose\n    to concertmaster status in a week, and within three years was appointed\n    conductor.\n\u003c\/p\u003e\n\u003cp\u003e\n    It was while Ormandy was doing a “side job” leading an ensemble\n    accompanying a dance recital at Carnegie Hall that he was spotted by\n    impresario Arthur Judson, who became his manager. Judson put him to work\n    conducting on the fledgling radio network he had created (shortly to become\n    CBS), and Ormandy thus became familiar to a large audience in the late\n    1920s for leading light Classics on the air, and even the Dorsey Brothers’\n    jazz orchestra on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s big break occurred in 1931, when he substituted for an ailing\n    Arturo Toscanini in a guest engagement with the Philadelphia Orchestra. In\n    the audience was an agent for the Minneapolis Symphony, which had been\n    scouting for a replacement for its recently departed music director.\n    Ormandy was quickly signed to a five-year contract.\n\u003c\/p\u003e\n\u003cp\u003e\n    When it was discovered that the musicians’ contracts did not require\n    additional payment for recording sessions, the Minneapolis Symphony\n    suddenly became the most-recorded orchestra in America. During sessions\n    held in January of 1934 and January of 1935, the orchestra made dozens of\n    recordings, including such large-scale works as the Bruckner Seventh and\n    the Mahler Second. The repertoire ranged from Bach (in transcription) to\n    Schoenberg (\u003cem\u003eVerklärte Nacht\u003c\/em\u003e) to contemporary American and\n    Hungarian composers, along with a good helping of the light Classics with\n    which Ormandy had been associated.\n\u003c\/p\u003e\n\u003cp\u003e\n    This volume gives a sample of the range of Ormandy’s repertoire during his\n    Minneapolis years. While his Mozart here is a bit on the brusque and\n    forward side, the unusually fast tempo for the second movement may have\n    been a result of Victor’s desire to feature one movement on each side with\n    no spillover. The Grainger folk-dance settings, along with the similar\n    Sowerby arrangement, are more in Ormandy’s wheelhouse, and it’s a pity he\n    never returned to them later in his Philadelphia recording career.\n\u003c\/p\u003e\n\u003cp\u003e\n    Following these are recordings of works by two American composers. Charles\n    Tomlinson Griffes was only 35 when he died of influenza in 1920 during the\n    last major world pandemic; yet, he lived long enough to see his works\nchampioned by Stokowski in Philadelphia and Monteux in Boston. His    \u003cem\u003ePleasure Dome of Kubla Khan\u003c\/em\u003e was a disc première, as was John Alden\n    Carpenter’s \u003cem\u003eAdventures in a Perambulator\u003c\/em\u003e, a look at the world\n    through the eyes of a baby in a carriage.\n\u003c\/p\u003e\n\u003cp\u003e\n    The recording of Enescu’s \u003cem\u003eRomanian Rhapsody No. 1\u003c\/em\u003e was its second\n    outing on disc, although the first (George Georgescu’s 1929 version with\n    the Bucharest Philharmonic) only came out on Czech HMV and had limited\n    distribution, making Ormandy’s supercharged Minneapolis recording the one\nto first bring it to the attention of a worldwide audience. The Kodály\u003cem\u003eHáry János\u003c\/em\u003e Suite was also a disc première, as was the Weinberger    \u003cem\u003eSchwanda\u003c\/em\u003e Fugue (along with the Polka, an Ormandy specialty\n    throughout his career), which bested Harty’s Columbia recording of the\n    excerpts by two months.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Rachmaninov Second had previously been recorded by Sokoloff in\n    Cleveland (Pristine PASC 524). Both versions had cuts, as was the accepted\n    practice for many years; but Ormandy’s became the \u003cem\u003ede facto\u003c\/em\u003e\nstandard for performing editions through the 1960s, until the    \u003cem\u003eUrtext\u003c\/em\u003e became fashionable. By turns exciting and heartfelt,\n    Ormandy’s interpretation (the first of four recordings and a concert video)\n    remains one of the highlights of the Rachmaninov discography.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and the Minneapolis Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 24px;\"\u003eComplete Recordings ∙ Volume 1\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (77:10)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        \u003cstrong\u003e\n            \u003cspan style=\"font-size: 18px;\"\u003eMOZART Serenade No. 13 in G major, K. 525, “Eine Kleine Nachtmusik”\n        \u003c\/span\u003e\u003c\/strong\u003e\n \n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Allegro (4:14)\u003cbr\u003e2. 2nd Mvt. – Romanze (Andante) (4:25)\u003cbr\u003e3. 3rd Mvt. \u003ca name=\"OLE_LINK7\"\u003e–\u003c\/a\u003e Menuetto (Allegro) \u0026amp; Trio (2:12)\u003cbr\u003e4. 4th Mvt. – Rondo (Allegro) (2:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 January 1934 ∙ Matrices: CVE 81524-1, 81525-1 and BVE 81526-1A\n    \u0026amp; 81527-1 ∙ First issued on Victor 8588 \u0026amp; 1698\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    5. \u003cstrong\u003eGRAINGER Country Gardens \u003c\/strong\u003e(2:09)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 January 1934 ∙ Matrix: BVE 81503-1 ∙ First issued on Victor\n    1666\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    6. \u003cstrong\u003eGRAINGER Shepherd’s Hey \u003c\/strong\u003e(1:59)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 January 1934 ∙ Matrix: BVE 81500-1 ∙ First issued on Victor\n    1666\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    7. \u003cstrong\u003eGRAINGER Londonderry Air \u003c\/strong\u003e(4:33)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 January 1934 ∙ Matrix: CVE 81502-3 ∙ First issued on Victor\n    8734\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n8. \u003cstrong\u003eGRAINGER Molly on the Shore (Irish Reel) \u003c\/strong\u003e(3:55)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 January 1934 ∙ Matrix: CVE 81501-3 ∙ First issued on Victor\n    8734\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    9. \u003cstrong\u003eSOWERBY Irish Washerwoman \u003c\/strong\u003e(2:09)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 January 1934 ∙ Matrix: BVE 81582-1A ∙ First issued on Victor\n    1761\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n10. \u003cstrong\u003eGRIFFES The Pleasure Dome of Kubla Khan \u003c\/strong\u003e(8:44)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 January 1934 ∙ Matrices: CVE 81522-1A \u0026amp; 81523-1A ∙ First\n    issued on Victor 7957\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eCARPENTER Adventures in a Perambulator\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e11. En voiture (3:36)\u003cbr\u003e12. The Policeman (3:39)\u003cbr\u003e13. Hurdy-Gurdy (4:03)\u003cbr\u003e14. The Lake (4:31)\u003cbr\u003e15. Dogs (3:55)\u003cbr\u003e16. Dreams (8:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17, 22 \u0026amp; 23 January 1934 ∙ Matrices: CVE 81528-1A, 81529-1A,\n    81530-2A, 81531-2A, 81532-1A, 81533-2A \u0026amp; 81534-2 ∙ First issued on\n    Victor 8455\/8 in album M-238\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n17. \u003cstrong\u003eENESCU Romanian Rhapsody No. 1, Op. 11 \u003c\/strong\u003e(11:35)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 January 1934 ∙ Matrices: BVE 81504-1, 81505-1A, 81506-1 \u0026amp;\n    81507-1A ∙ First issued on Victor 1701 \u0026amp; 1702\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 (76:52)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eKODÁLY Háry János - Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e1. Prelude: The Fairy Tale Begins (3:38)\u003cbr\u003e2. Viennese Musical Clock (2:14)\u003cbr\u003e3. Song (5:42)\u003cbr\u003e4. The Battle and Defeat of Napoleon (4:03)\u003cbr\u003e5. Intermezzo (4:31)\u003cbr\u003e6. Entrance of the Emperor and his Court (3:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 January 1934 ∙ Matrices: CVE 81516-1 , 81517-1 , 81518-1 ,\n    81519-1A , 81520-1A \u0026amp; 81521-1 ∙ First issued on Victor 7951\/3 in album\n    M-197\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eWEINBERGER Polka and Fugue from Schwanda the Bagpipe Player\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e7. Polka (2:15)\u003cbr\u003e8. Fugue (5:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 January 1934 ∙ Matrices: CVE 81563-1A \u0026amp; 81564-1 ∙ First\n    issued on Victor 7958\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV Symphony No. 2 in E minor, Op. 27\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e9. Largo – Allegro moderato (15:41)\u003cbr\u003e10. Allegro molto (7:30)\u003cbr\u003e11. Adagio (11:30)\u003cbr\u003e12. Allegro vivace (10:42)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 18, 19 \u0026amp; 22 January 1934 ∙ Matrices: CVE 81535-2, 81536-2A,\n    81537-2A, 81538-1A, 81539-1, 81540-1, 81541-1A, 81542-1, 81543-1A,\n    81544-1A, 81545-1 \u0026amp; 81546-1 ∙ First issued on Victor 8463\/8 in album\n    M-239\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eEugene Ormandy ∙ Minneapolis Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll recordings made in the Cyrus Northrop Memorial Auditorium,\n        University of Minnesota, Minneapolis\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eTotal duration: 2hr 34:02\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC652.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC652.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":39644544270397,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205523882318,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC652_2eafeef6-302e-428e-a4a3-f8f1a325c66d.jpg?v=1642742105"},{"product_id":"pasc652-cd","title":"ORMANDY Complete Minneapolis Symphony, Vol. 1 (1934) - PASC652 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC652.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":39644518645821,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205523849550,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC652.jpg?v=1658751912"},{"product_id":"pasc716","title":"VAN CLIBURN Prokofiev \u0026 Rachmaninov Piano Concertos (stereo, 1960 \u0026 1962) - PASC716","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003ePiano Concerto No. 3\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 2\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStereo studio recordings, 1960 \u0026amp; 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) - PASC716 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC716.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":47984745611598,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205511168334,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC716_b39dd1b8-5fe0-443a-9a79-736530ced0ba.jpg?v=1759331798"},{"product_id":"pakm096","title":"LYMPANY Rachmaninov: 24 Preludes (1951) - PAKM096","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePrelude in C sharp minor, Op. 3 No. 2 \u003c\/span\u003e\u003cbr data-start=\"114\" data-end=\"117\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eRACHMANINOV \u003c\/b\u003e10 Preludes, Op. 23 \u003c\/span\u003e\u003cbr data-start=\"158\" data-end=\"161\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003cb\u003eRACHMANINOV \u003c\/b\u003e13 Preludes, Op. 32 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 11px;\"\u003eStudio recordings, 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 73:20\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMoura Lympany\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM096.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhen Moura Lympany recorded the complete \u003ci\u003eTwenty-Four Preludes\u003c\/i\u003e of Sergei Rachmaninov in January 1951, she was at the height of her powers and in full command of her artistic identity. Already recognised as one of Britain’s most formidable pianists, Lympany brought to this repertoire a rare combination of intellectual rigour, technical security, and a refusal to indulge in surface rhetoric. The result was a set that impressed on first release and has never slipped from view. Seventy-five years on, it remains one of the most convincing and durable accounts of the cycle ever recorded.\u003c\/p\u003e\n\n\u003cp\u003eRachmaninov’s Preludes span more than two decades of his creative life, from the famous early Prelude in C sharp minor to the more exploratory landscapes of Opp. 23 and 32. Too often they are treated as a sequence of atmospheric miniatures, selected individually as vehicles for colour or sentiment. Lympany hears them in broader terms. There is a strong sense of architecture, each prelude shaped not only for its own character but for its place within a larger argument. Even when the mood shifts rapidly, the line remains purposeful. You have the sense of a mind thinking in paragraphs rather than phrases.\u003c\/p\u003e\n\n\u003cp\u003eThat quality was recognised immediately. Reviewing the original issue, \u003ci\u003eThe Gramophone\u003c\/i\u003e praised the “grand scale” of Lympany’s conception and the way she sustains momentum across contrasting moods without sacrificing clarity or proportion. Her playing was admired for its rhythmic strength, directness, and refusal to sentimentalise. These are exactly the qualities that still strike the listener today. Lympany trusts the music’s structure and allows the drama to emerge naturally, rather than imposing effects from without.\u003c\/p\u003e\n\n\u003cp\u003eCentral to this approach is her control of texture. In dense chordal writing, inner voices are clearly projected and bass lines firmly anchored. Even in the most crowded passages, she prevents the sound from thickening. The famous Prelude in C sharp minor, so often weighed down by portentous pacing, emerges here as taut, urgent, and unsentimental, its impact created by harmonic tension and forward motion rather than by theatrical lingering. Elsewhere, in preludes of greater intimacy, Lympany achieves warmth without blur. The piano can sing, but it can also speak with clarity and intent.\u003c\/p\u003e\n\n\u003cp\u003eFor all their artistic distinction, these recordings have long been compromised by technical limitations inherent in early tape-era piano recording and subsequent transfer history. The original issue exhibits noticeable pitch instability, a problem that subtly undermines the solidity of the instrument. In fast-moving or heavily chordal passages, the piano can seem to shimmer or drift, blunting the very qualities that define Lympany’s playing: precision, weight, and structural clarity.\u003c\/p\u003e\n\n\u003cp\u003eThe present XR remastering changes that picture. Using Celemony Capstan pitch stabilisation, the underlying pitch fluctuations have been corrected with great care, restoring the piano to a stable tonal centre. The improvement is musical rather than cosmetic. Chords now lock into place, bass lines carry their full harmonic weight, and the musical argument unfolds with a new sense of inevitability. Freed from technical distraction, Lympany’s rhythmic strength and tonal discipline form the foundation of a performance that feels newly present and newly persuasive.\u003c\/p\u003e\n\n\u003cp\u003eSeventy-five years on, these readings emerge not as historical curiosities but as living music. They remind us that Rachmaninov can sound grand without grandstanding, poetic without indulgence, and passionate without haste. Above all, they confirm Moura Lympany’s stature as a Rachmaninov interpreter of uncommon seriousness and authority, restoring the full impact of performances that have always deserved to be heard in the best possible light.\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\u003e\u003cspan style=\"font-size: 24px;\"\u003eLYMPANY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e  RACHMANINOV 24 Preludes\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e1.\u003c\/span\u003e \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude in C sharp minor\u003c\/span\u003e, Op. 3, No. 2 \u003cspan style=\"font-size:12px;\"\u003e(4:31)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV 10 Preludes, Op. 23\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e2.\u003c\/span\u003e Prelude No. 1 in F sharp minor, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e3.\u003c\/span\u003e Prelude No. 2 in B flat major, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e4.\u003c\/span\u003e Prelude No. 3 in D minor, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(3:26)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e5.\u003c\/span\u003e Prelude No. 4 in D major, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(4:13)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e6.\u003c\/span\u003e Prelude No. 5 in G minor, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(3:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e7.\u003c\/span\u003e Prelude No. 6 in E flat major, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(2:26)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e8.\u003c\/span\u003e Prelude No. 7 in C minor, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(2:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e9.\u003c\/span\u003e Prelude No. 8 in A flat major, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(3:50)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e10.\u003c\/span\u003e Prelude No. 9 in E flat minor, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(2:57)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e11.\u003c\/span\u003e Prelude No. 10 in G flat major, Op. 23 \u003cspan style=\"font-size:12px;\"\u003e(4:26)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV 13 Preludes, Op. 32\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e12.\u003c\/span\u003e Prelude No. 1 in C major, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(1:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e13.\u003c\/span\u003e Prelude No. 2 in B flat minor, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(2:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e14.\u003c\/span\u003e Prelude No. 3 in E major, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(2:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e15.\u003c\/span\u003e Prelude No. 4 in E minor, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e16.\u003c\/span\u003e Prelude No. 5 in G major, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(3:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e17.\u003c\/span\u003e Prelude No. 6 in F minor, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(1:35)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e18.\u003c\/span\u003e Prelude No. 7 in F major, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e19.\u003c\/span\u003e Prelude No. 8 in A minor, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(3:08)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e20.\u003c\/span\u003e Prelude No. 9 in A major, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(3:06)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e21.\u003c\/span\u003e Prelude No. 10 in B minor, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(4:33)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e22.\u003c\/span\u003e Prelude No. 11 in B major, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(2:06)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e23.\u003c\/span\u003e Prelude No. 12 in G sharp minor, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(2:37)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003e24.\u003c\/span\u003e Prelude No. 13 in D flat major, Op. 32 \u003cspan style=\"font-size:12px;\"\u003e(4:56)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cbr\u003eMoura Lympany\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\nXR remastering by Andrew Rose\u003cbr\u003e\nRecorded at West Hampstead Studios, London, 9 \u0026amp; 11 January 1951\u003cbr\u003e\nProducer: John Culshaw\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eTotal duration: 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