{"title":"Ravel","description":"Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s, Ravel was regarded as France's greatest living composer, both nationally and internationally.\u003cbr\u003e\u003cbr\u003eBorn to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the Conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, Boléro (1928), in which repetition takes the place of development. He made some orchestral arrangements of other composers' music, of which his 1922 version of Mussorgsky's Pictures at an Exhibition is the best known.\u003cbr\u003e\u003cbr\u003eAs a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas, orchestral music, and eight song cycles; he wrote no symphonies and only one religious work (\"Kaddish\"), which is merely an arrangement of pre-existent Hebrew liturgical melodies. Many of his piano pieces also exist in the form of orchestrations made years after their original conception. Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and some of his complex orchestral scores, such as the music for the ballet Daphnis et Chloé (1912), require great conducting skill to realize successfully.\u003cbr\u003e\u003cbr\u003eRavel was among the first composers to recognise the potential of recording to bring their music to a wider public. From the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works; others were made under his supervision.","products":[{"product_id":"pacm065","title":"BUDAPEST QUARTET Ravel \u0026 Debussy: String Quartets (1940) - PACM065","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003eString Quintet in F major (1902)\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 style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eDEBUSSY \u003c\/b\u003eString Quintet in G minor (1893)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eRecorded 1940, Liederkranz Hall, New York\u003cbr\u003eTotal duration: 54:11\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Budapest Quartet\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM065.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Budapests: one of the greatest 20th century quartets\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eGood \"mid-fifties\" sound quality from two 1940 recordings!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe first of these two recordings arrived \namongst a group of LPs from our Belgian friend Jean-François Lambert on a\n 10-inch Philips LP from the mid-50s. Assuming this was therefore a \nrecording from that era, I got to work on the transfer and restoration \nof the recording.\u003cp class=\"body\" align=\"left\"\u003eInitially I was somewhat put off by the \nsound quality, which seemed a little poor for a major quartet of this \nera, but thanks to some brand new restoration software i've recently \nbeen testing, this was largely overcome and I began to feel we had \nsomething worthwhile and nearly ready for release.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWith this in mind, I was delighted to \nreceive a transfer from Dr. John Duffy, intended initially for our \nPristine Exclusives catalogue, of both the Ravel and Debussy quartets, \nfrom which I was able to use the Debussy to compliment my own Ravel \ntransfer. Dr. Duffy, too, had worked from an LP source, this time a US \nColumbia issue, and had dated its release to 1950. Given the quality \nboth he and I had achieved (I was able to squeeze a little more top end \nout of the Debussy with some nifty XR remastering) I was content that \nthese were pretty good recordings for a 1950 release date.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eI was therefore utterly astonished when I \ncame across the Budapest Quartet discography at Youngrok Lee's superb \nmusic pages (which contain some of the best-researched discographies to \nbe found online) and discovered that both of these recordings were made \nway back in New York in 1940! The frequency response and low noise \nlevels gave no indication whatsoever of this vintage, and as a result I \nnow up my technical quality rating for this release from good to \namazing!\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe vintage - predating any claims for \nfull-frequency response recordings by several years - does explain one \nor two rougher edges at times, but overall any lover both of this music \nand this quartet are in for a real treat with this splendid issue.\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\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003eString Quintet in F major (1902)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eString Quintet in G minor (1893)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eRAVEL Recorded 8th September 1940, Liederkranz Hall, New York\u003cbr\u003e Issued as Columbia 78s M-425\u003cbr\u003e Transfer and restoration by Andrew Rose\u003cbr\u003eDEBUSSY Recorded 10th-12th December 1940, Liederkranz Hall, New York\u003cbr\u003e Issued as Columbia 78s Columbia M 467 \/ LOX 545~48(England)\u003cbr\u003e Transfer and restoration from Dr. John Duffy\u003cbr\u003eFurther restoration and XR remastering by Andrew Rose, April-May 2009\u003cbr\u003e Cover artwork based on a photograph of Josef Roismann\u003cbr\u003eTotal duration: 54:11\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Budapest Quartet:\u003cbr\u003eJosef Roismann, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eAlexander Schneider, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eBoris Kroyt, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eMischa Schneider, \u003c\/b\u003ecello\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\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\/PACM065.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM065.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":31975411597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975411661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975411725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31975411789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM065_8c4c7fa0-f187-4f9f-b5e2-a2432f4d22a9.jpg?v=1487681940"},{"product_id":"pasc303","title":"COATES conducts Russian and French music (1921-24) - PASC303","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003cb\u003e\u003cbr\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003cbr\u003eMusic by\u003cb\u003e Glinka, Liadov, Debussy\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fColourful, euphoric and above all, musical578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI have been unhappy with Pristine Audio’s attempts to make early LPs \nsound like digital CDs, but here we have a collection of acoustic \nrecordings and the transfer engineer is Ward Marston. I have not been \nable to compare any other transfers of these same recordings – the \nvarious sites offering early recordings for free download, such as \nShellackophile and Damian’s 78s, have not so far branched into Coates \nvery much. My impression is that we hear these ancient recordings about \nas well as we are ever likely to. Readers who came to music in the 1960s\n will remember that in those days the typical LP player also had \nprovisions for playing 78s. They invariably reproduced the discs with a \nhigh level of scratchy hiss. On the rare occasions that I actually heard\n some 78s played by a collector with an old player and a stock of fibre \nneedles, the hiss was gentler, more of a swish, and the music somehow \nemerged from it remarkably well. That’s about how we get it here, but \nwith more detail than most of those old players could ever extract. When\n the textures are relatively spare, as in the Ravel, it’s amazing how \nmuch nuance and timbre comes across. But there’s no denying that \nclimaxes get strident, often confused, and the lack of depth is tiring \nto the ear. \u003cbr\u003e \u003cbr\u003eThere are historical recordings where one can still\n be caught up in an enthralling experience. There are others where the \nmusical lessons to be gleaned are so great that it is worth persevering.\n But there are also some where one says “so that’s what it sounded like”\n and passes on to other things. \u003cbr\u003e \u003cbr\u003eThese considerations were \nparticularly aroused by the Glinka and Rimsky-Korsakov items. This is \nthe sort of music that thrives on modern sound. Nor does it call for the\n sort of interpretative insight reserved for the few. One can note that \nCoates’s “Symphony Orchestra”, whatever it was, was a crack band. In \nfast string passages he gets the sort of brilliant articulation \ngenerally associated, in recordings from that period, with Mengelberg \nand the Concertgebouw. Given that fast tempi go at a real lick, anyone \nwho expects to find slack orchestral standards in London of the 1920s is\n in for a surprise. All the same, brilliant playing and high energy \nlevels are not unknown in more recent times, so one would need some \nfurther reason for listening again. Not only do I not find this, I began\n to feel, particularly in the Golden Cockerel music, that Coates’s \nrelentlessly up-front approach has its limits. It was interesting to \nturn to a little-remembered version of this suite set down, I think for \nPye in the 1960s, by the London Philharmonic under Hugo Rignold - you \ncan download this from Rediscovery Paperbacks if you’re interested. The \nLPO was not a virtuoso band at that time but there is a strong feeling \nof affectionate enjoyment of the music by all concerned and a welcome \nreminder that Rignold was a dab hand at music with a strong \nstory-telling content. This is important with music that risks seeming \nthe fruit of the drawing-board more than of inspiration. \u003cbr\u003e \u003cbr\u003eAgainst\n all odds, the performance that gave me most pleasure here was that of \nthe Stravinsky. With the music only thirteen years old, one rather \nexpects to find a bemused orchestra treading warily and none too \nunanimously through the music on a note-by-note basis. Such early \nrecordings of Stravinsky certainly exist – some of them under the \ncomposer’s own baton – but Coates’s band seems to have known the music \nall its life. The score is not played as an extravagant piece of noisy \nmodernism but as a refined successor to Debussy, colourful, euphoric and\n above all, musical. \u003cbr\u003e \u003cbr\u003eIt’s interesting to have this followed by \nKikimora, since Diaghilev had initially asked Liadov to compose the \nFirebird ballet. Stravinsky himself is down as saying that Liadov would \nnever have had the energy to write a score like that. Strangely, in \nCoates’s super-energetic hands the two composers’ styles seem remarkably\n similar! \u003cbr\u003e \u003cbr\u003eThe Debussy is a slightly unsettled performance, \nthough Coates, a noted Wagnerian, makes the most of the Tristan quote. \nIn the Ravel we may note his skill in realizing every detail of the \norchestration but we may also note a pervasively heavy, over-regular \nbeat. How much more flexible is the 1949 Cluytens version, included in \nan Andante compilation of historical Ravel performances, “Le jardin \nfëerique” caressed and built up lovingly where Coates is almost \nperfunctory. Was he at his best only in music that is fast and noisy? \u003cbr\u003e \u003cbr\u003e\n This compilation was sent to me in tandem with another containing \nCoates’s performances, from the same period, of Tchaikovsky’s 5\u003csup\u003eth\u003c\/sup\u003e Symphony and Francesca da Rimini and Borodin’s Polovtsian Dances. For a rounded picture, the reader should now read my \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Dec11\/Tchaikovsky_5_Coates_PASC297.htm\"\u003ereview\u003c\/a\u003e of the companion disc. \u003cbr\u003e \u003cbr\u003e\u003cb\u003e\u003ci\u003eChristopher Howell\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC303.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmilla - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 5 May 1922; Matrix Cc1292-2; Issued on HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cbr\u003eRecorded 10 May and 14 July 1922.\u003cbr\u003eIssued on HMV D732-734.\u003cbr\u003eSide 1 recorded 14 July 1922; matrix Cc1307-4; HMV D732.\u003cbr\u003eSide 2 recorded 10 May 1922; matrix Cc1308-2; HMV D732.\u003cbr\u003eSide 3 recorded 10 May 1922; matrix Cc1309-2; HMV D733.\u003cbr\u003eSide 4 recorded 14 July 1922; matrix Cc1310-4; HMV D733.\u003cbr\u003eSide 5 recorded 14 July 1922; matrix Cc1659-1; HMV D734.\u003cbr\u003eSide 6 recorded 14 July 1922; matrix Cc1660-3; HMV D734.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e The Snow Maiden - Dance of the Tumblers\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 14 July 1922; matrix Cc1661-1; HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 24 and 29 October 1924. Issued on HMV D958 and 959.\u003cbr\u003eSide 1:\u003cb\u003e 1. Introduction – Kashchei's Enchanted Garden – Dance of the Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5298-1; HMV 958\u003cbr\u003eSide 2: \u003cb\u003e2. Supplication Of The Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5297-2; HMV D958.\u003cbr\u003eSide 3: \u003cb\u003e3. The Princesses' Game With The Golden Apples; 4. The Princesses’ Khorovod\u003c\/b\u003e\u003cbr\u003erecorded 24 October 1924; matrix Cc5291-1; HMV D959.\u003cbr\u003eSide 4: \u003cb\u003e5. Infernal Dance Of All Kashchei's Subjects\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5296-2; HMV D959.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Kikimora\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 28 October 1921; matrix Cc608-2; HMV D620\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Golliwog's Cakewalk from Children's Corner Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 25 April 1922; matrix Cc1243-2; HMV D620.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 November 1921, and 25 April 1922. Issued on HMV D708 and 709.\u003cbr\u003eSide 1, \u003cb\u003ePavane de la Belle au Bois Dormant; Petit Poucet.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc709-2; HMV D708.\u003cbr\u003eSide 2, \u003cb\u003eLaideronette, Impératrice des Pagodes.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc710-3; HMV D708.\u003cbr\u003eSide 3, \u003cb\u003eLes entretiens; De la Belle et de la Bête.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1241-3; HMV D709.\u003cbr\u003eSide 4, \u003cb\u003eLe Jardin Férique.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1242-2; HMV D709.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC303.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC303.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eReview of this Firebird Suite recording, 1925:\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"I can imagine strife in many a peaceful home when Part 4 of this suite is reached.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFather: \u003c\/b\u003e\"I call that a noise.\"\u003cbr\u003e\u003cb\u003e\u003cbr\u003eSon or Daughter\u003c\/b\u003e,\n with that desire to irritate so conspicuous in happy families : \"Noise?\n A term used by the Elizabethans to denote a band or company of \nmusicians.\"\u003cbr\u003e\u003cbr\u003e(Confused sounds from father.)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eMother\u003c\/b\u003e, reading newspaper, quite irrelevantly remarks \"How terrible these Bolshevists are.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSon\u003c\/b\u003e,\n of course, misunderstands, and replies with withering scorn \"Naturally \nyou cannot understand that the juxtaposition of tonal masses, the \nempirical atonalities, etc., etc.\" (until the entire family is flattened\n out!)\u003cbr\u003e\u003cbr\u003eThe Firebird music suffers more from being detached from \nits proper setting—the theatre—than did the later work Petrouchka. It \nwill sound extraordinarily scrappy and disjointed to anyone who has not \nseen the ballet. Moreover, the titles affixed to the records do not \ncorrespond very satisfactorily with the plot given in the supplement. \nFurther, Mr. Percy Scholes' excellent analytical notes, done for a \nB.B.C. concert at Covent Garden, from which I have culled some \ninformation, present the music in a different sequence to that given \nhere. Perhaps, therefore, the following analysis, merely a personal \ninterpretation fused with the main outlines of the story, will be \nhelpful.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePart 1.\u003c\/b\u003e—An enchanted garden with something \nsinister and evil lurking in the background. A scene bathed in \nhalf-light. After many obscure mutterings the air suddenly grows \ntremulous with sound, a rich glow dispels the shadows. The wonderful \nexotic fire bird flutters into the garden.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 2.\u003c\/b\u003e—She \ndances round a silver tree loaded with golden fruit, seeming to the \nyoung Prince Ivan (hidden in the bushes) the loveliest thing he has ever\n seen. Greatly daring he captures her, but she begs to be released, \noffering him a gift of one of her feathers.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 3.\u003c\/b\u003e—She \ndeparts. The garden is now filled with a band of maidens headed by a \nPrincess. They too dance with charming vivacity and have a game with the\n golden apples. At dawn they disappear.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 4.\u003c\/b\u003e—The Prince\n is seeking them when suddenly there appears the monstrous retinue of \nthe evil spirit of the place, the demon king Kastchei The magic feather \npreserves Ivan's life, but the Firebird also comes to his rescue. She \nmakes the bevy of wild Indians, warrior Turks, Chinamen, Clowns, Imps, \nHobgoblins, Ogres, and Apes burst into a frenzied dance. While they are \nthus engaged she directs Ivan to smash a huge egg in a casket in which \nis hidden the demon's life. This done the monster dies and the loathsome\n creatures vanish. Ivan marries the princess.\u003cbr\u003e\u003cbr\u003eThe highly coloured\n orchestration rather blinds one to the lack of any real \"meat\" in the \nmusic. It is a positive relief on reaching Part 3 to encounter a genuine\n tune, one which seems better than it actually is by reason of what has \ngone before. Rhythmically the music is feverishly alive; melodically it \nhas to rely on actual or spurious folk tunes for sustenance. These sound\n very like concessions. The final section with its blocks of harmonies \npushed this way and that makes a terrific din that fits the stage \npicture, but is meaningless without. As a study for Petrouchka the music\n has a definite interest and as all of us like a bit of \"twopence \ncoloured\" at times, these records will find a place in our cabinets. \u003cbr\u003e\u003cbr\u003eWhatever\n criticisms one may make of this Debussy–Scriabin–Stravinsky confection,\n there are none to be made about the recording. Real oboe tone, that \nfloating incisive quality, is heard at last; the string background, the \noccasional solo violin relief, the writhings and posturings of the wind \nand brass are excellently reproduced. Everyone, at least, will be able \nto take genuine pleasure in the Dance of the Princesses (Part 3).\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eN.P.,\u003c\/b\u003e The Gramophone, April 1925, review of the Albert Coates recording of Stravinsky's The Firebird\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116554932285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116554965053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC303_cc0062e4-597d-48e0-be23-5f9977353135.jpg?v=1554801480"},{"product_id":"pasc443","title":"CORTOT Concertos, Volume 1: Chopin, Ravel, Saint-Saëns (1935\/39) - PASC443","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003ePiano Concerto No. 2\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"ARIALb\"\u003e\u003cbr\u003eR\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eAVEL\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003ePiano Concerto for the Left Hand\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"BLACKb\"\u003e\u003cbr\u003eSAINT-SAËNS \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"ARIALb\"\u003ePiano Concerto No. 4\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\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1935 \u0026amp; 1939\u003cbr\u003eTotal duration: 71:43\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlfred Cortot, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eUnnamed Orchestras\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eCharles Munch, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003eJohn Barbirolli, \u003c\/b\u003econductor \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAll three concertos are given splendid performances here - essential 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe French-Swiss pianist Alfred Cortot \n(1877–1962) was never known for spotless technique, and if that is at \nthe top of your list of requirements for listening to keyboard concertos\n you might want to pass this up. Everyone else, however, should snap it \nup. All three concertos are given splendid performances here. Although \nPristine puts the Ravel first on the disc, I started the headnote with \nthe Chopin because it is to my ears the most special of the three. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCortot studied with a pupil of \nChopin’s, and so this can be said to be music-making fairly close to the\n source. But our knowledge of that biographical fact should not \ninfluence the way we hear this. There were probably many pianists who \nstudied with pupils of Chopin whose work we would have no interest in. \nWhat distinguishes this performance is the poetry of the playing, the \nsubtle use of rubato throughout, the way Cortot shapes phrases giving \nthem both firmness and suppleness at the same time. This is playing of \ngreat nuance and shading, some of it staying long in the memory after \nthe recording is finished. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n this concerto is by itself more than worth the price of the disc. It is\n an object lesson in Chopin playing. Cortot employs an infinite variety \nof dynamics. Between \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epiano\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a whole wide world, and he carefully gauges his dynamic level so as \nto create a constant sense of flow and forward motion. I have heard this\n recording in earlier releases, and Pristine’s Andrew Rose can be said \nto have opened up a new world with his remastering here. Never has the \npiano sound been so alive, and never has the degree of colors employed \nby Cortot been as apparent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCortot was a thorough musician—an \nimportant conductor as well as pianist—and it is the thoroughness of his\n musicianship that shines through these performances. What I find \nparticularly interesting is that although there are occasional wrong \nnotes, there are also passages of surprising technical brilliance. The \nimplication of this, at least as I hear it, is not that he couldn’t \nachieve a high level of technique but rather that it was not of prime \nimportance to him. Eloquence of phrasing, maintaining a sense of freedom\n throughout a performance, giving the impression of creating the music \nwhile performing it, these were his guideposts. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe Ravel and Saint-Saëns performances\n are on a similarly high level, although I found the very ending of the \nRavel surprisingly timid, lacking in the snap that I expect there (and \nthat the performance had led me to expect here). The dark drama of the \nRavel, and the glistening sparkle of the Saint-Saëns, all of this and \nmore is conveyed in these spontaneous recordings. The final bars of the \nRavel notwithstanding, the accompaniments of Barbirolli in the Chopin \nand Munch in the other two are as superb as you would expect. The Ravel \ndates from 1939; the Chopin and Saint-Saëns date from 1935. The piano \nsound on Pristine’s XR Stereo remastering is remarkably full and rich. \nThis is an essential disc for pianophiles. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC443.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCortot's Concerto Recordings, Volume One - Piano Concertos by Ravel, Chopin and Saint-Saëns\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The piano sound on Pristine’s remastering is remarkably full and rich. This is an essential disc for pianophiles\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eAlfred Cortot's extensive studio recordings for EMI included very few \nwith full orchestra. He seemed more at home in a solo or chamber music \nenvironment when in the recording studio, and yet these recordings \ndemonstrate amply just what a fabulous concerto player he also could be.\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eIt is notable that the Gramophone reviewer of the day felt that\n Cortot didn't record as well as his rivals when placed in front of the \norchestra. Perhaps the limitations of the recording medium and its \nreplay equipment had something to so with this assertion, for with \nCortot is it surely the finer details and nuances, rather than bombast \nand flashiness, which are at the forefront of his unique brilliance.\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eIn these new XR remasters I have aimed to delve deeper into \nthose 1930s grooves than ever before in order to illuminate Cortot's \nfiner nuances. The focus here is, first and foremost on the piano. \nCapstan pitch stabilisation gives his piano a solidity it has not \ndisplayed before, and the instrument's excellent and sturdy tone \nthroughout seems curiously at odds with the at times vintage style of \nthe orchestral playing. In all three cases I've been not just delighted,\n but truly astonished by the detail within these recordings - each one \ncan now be heard afresh and anew, and each is truly special.\u003cbr\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eRAVEL \u003c\/b\u003e Piano Concerto for the Left Hand \u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e \u003cbr\u003econductor: \u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003eRecorded Salle Chopin, Paris, 12 May 1939\u003cbr\u003eMatrix Numbers 2LA.3059-62\u003cbr\u003eIssued as HMV DB.3885-86\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCHOPIN \u003c\/b\u003e Piano Concerto No. 2 in F minor, Op. 21\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestra\u003c\/b\u003e, conductor: \u003cb\u003eJohn Barbirolli\u003c\/b\u003e\u003cbr\u003eRecorded Abbey Road Studio 1, 8 July 1935\u003cbr\u003eMatrix Numbers 2EA.1506-13\u003cbr\u003eIssued as HMV DB.2612-15\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSAINT-SAËNS \u003c\/b\u003e Piano Concerto No. 4 in C minor, Op. 44 \u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestra\u003c\/b\u003e, conductor: \u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003eRecorded Abbey Road Studio 1, 9 July 1935\u003cbr\u003eMatrix Numbers 2EA.1514-19\u003cbr\u003eIssued as HMV DB.2577-79\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\/PASC443.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC443.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eChopin, Piano Concerto No. 2 - Historic Review\u003c\/b\u003e\u003cbr\u003eI have been \nable to get down from the office two other recordings of this—the \nColumbia (Marguerite Long and the Paris Conservatoire Concerts \nOrchestra: Gaubert. LX4-7}, and the Rubinstein-L.S.O. (Barbirolli). This\n is H.M.V. DB1494-7. Each {cutting slightly the first movement) takes \nseven sides, and has a fill-up: Mile. Long playing the Mazurka, Op. 59, \nNo. 3, and Rubinstein the C sharp minor Waltz, Op. 64, No. 2. I have no \nstrong preference among the three. The Col. tone is distinctly slighter.\n On the whole Rubinstein’s is the biggest and most even, but I find \nCortot’s the most interesting interpretation. There are few pianists \nwhose poetry I find more congenial, though he does not record as well as\n some others. The balance and shaping of a few of those slow movement \nphrases are worth analysis. But Rubinstein produces a more impressive \nflow of tone, where that is wanted. Neither H.M.V, set, in the recorded \norchestral tone, comes to my ideal. Cortot’s last side but one seems to \nme, again, the more pure Chopin in impulse. These things are hard to \nanalyse (though I am sure they can be divided down to minute \nparticulars), and quite mad to argue about. One just enters some \nparticular interpretative artist’s heaven and is thankful to let \neverybody else do likewise with his or her blissful abode.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSaint-Saëns, Piano Concerto No. 4 - Historic Review\u003c\/b\u003e\u003cbr\u003eAt\n side 2, 33, a second melody follows the chorale, and there is some good\n Schumannesque matter for a minute or two. The air darkens, and the \npianist wreaks mightily upon the chorale, towards the end of the side. \nSide 3 begins with the secondary melody, which is now pondered upon very\n prettily. All the way, Cortot's feeling for the graces and simple \ndepths of the music is entirely enjoyable. His quality does not record \nsensationally, as we know, but he is always, for me, one of the most \nsatisfying of pianists, because of his fine feeling, his beautiful \ntiming and phrasing, and his blend of firmness and suavity.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWRA, The Gramophone\u003c\/b\u003e, May 1939, May 1938 (Exerpts)\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":31975480717,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975480781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975480845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975480909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC443_ac4cbd65-0d07-45d4-84cd-6ec0f44ee50b.jpg?v=1487682023"},{"product_id":"pasc422","title":"ELGAR, KOUSSEVITZKY, STOKOWSKI Accidental Stereo Recordings (1929-33) - PASC422","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 in B minor, Op.74 (Pathétique)\u003cb\u003e\u003cbr\u003eRAVEL\u003c\/b\u003e Boléro\u003cbr\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Carnival of the Animals\u003cb\u003e\u003cbr\u003eSTRAVINSKY\u003c\/b\u003e The Rite of Spring\u003cbr\u003e\u003cb\u003eELGAR\u003c\/b\u003e Cockaigne Overture\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings · 1929-1933\u003cbr\u003eTotal duration: 74:03\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003eSir Edward Elgar - BBC Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eSerge Koussevitzky - Boston Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eLeopold Stokowski - The Philadelphia Orchestra\u003c\/b\u003e\n\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf only there had been more accidents like this! 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat an odd and fascinating collection \nthis is—“Aquarium,” “Personages with Long Ears,” and “The Cuckoo in the \nHeart of the Woods” from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnival of the Animals\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n the Introduction, “Games of the Rival Tribes,” “Procession of the Wise \nElder,” “Adoration of the Earth” and “Dance of the Earth” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; and the last four minutes or so of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCockaigne Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, coupled with a complete “Pathetique” and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In his annotations the producer, Mark Obert-Thorn, explains what \n“accidental stereo” is: “Shortly after the introduction of electrical \nrecording, it became standard practice to make backups for wax matrices \nby simultaneously recording on a second cutting table….In the vast \nmajority of cases, the two cutters were fed from the same microphone. \nOccasionally, however, each was fed from its own microphone and where \nthose matching takes survive and have been released, it is possible to \ncombine them to produce what has come to be called “accidental stereo.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI don’t know how many readers will want\n this CD; it’s the sort of novelty you might play to surprise your \nfriends. If your curiosity gets the better of you, here’s what I \nsuggest: start off with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n preferably with a headset. Side one of the original 78s is monaural. \nThen you arrive at side two and suddenly the sound stage widens and \nblossoms into a rich, slightly directional sonority that I found \nastonishing and continues that way to the music’s conclusion. \nKoussevitsky was apparently someone who didn’t heed Ravel’s description \nof the piece as “\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eseventeen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n minutes of noise without music” and dispatches the piece in 13:25. \nThere’s a story that Ravel once burst into Koussevitsky’s dressing room \nafter hearing him race through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n shouting “It was a thousand times too fast … a thousand times!” The \nmaestro’s cynical rejoinder was, reputedly, “Really sir … hardly a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethousand \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etimes.”\n Anyway, I detest the performance (I don’t like his later recording, \neither) but was thrilled by the sound. For another dramatic comparison, \ntry Koussevitsky’s 1930 Tchaikovsky Sixth, which starts out with two \nchannels. Then, on side eight, midway through the third movement, we \nsuddenly lose our second channel and the sound flattens out into (I have\n to say it) dull, flat monaural the rest of the way, and what a letdown \nit is. I’m surprised that, given the recording’s 1930 origin, Victor \ndidn’t have him rerecord the piece later, instead favoring Ormandy, \nStokowski, and Toscanini. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the CD is stereophonic and\n frustrating because the sound is so remarkable and unexpected. If you \nthought Stokowski’s Philadelphia stuff sounded good in one channel, wait\n until you hear what it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecould\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n have sounded like with two, even with a narrow stereo spread. Even the \nbrief Elgar excerpt, with its under-nourished strings, sounds remarkably\n vivid. If only there had been more accidents like this! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC422.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAmazing \"accidental\" stereo 78rpm recordings made by Elgar, Koussevitzky and Stokowski\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew technologies and techniques produce astonishing stereo results from these unexpected early electric recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eShortly after the introduction of electrical recording, it became \nstandard practice to make backups for wax matrices by simultaneously \nrecording on a second cutting table, with the takes from the first being\n numbered 1, 2, etc. and the ones from the second 1A, 2A, etc. In the \nvast majority of cases, the two cutters were fed from the same \nmicrophone. Occasionally, however, each was run from its own microphone;\n and where those matching takes survive and have been released, it is \npossible to combine them to produce what has come to be called \n“accidental stereo”.\u003c\/p\u003e\u003cp\u003eSince this phenomenon was first brought to light some thirty years \nago, a number of matching “plain” and “A” takes have been proposed as \npossible stereo pairs; but until recently, the technology did not exist \nto prove whether they were or not. The problem lay in perfectly \nsynchronizing the two sides: there could be differences in speed between\n the original cutting turntables, within each recorded side, or in the \nplayback turntables. There was also the problem of “wow” caused by \nwarping of the original discs or imperfect centering on the turntable. \nAny one of these factors could lead to a false positive – identifying \ntwo recordings made from the same setup as stereo based on subtle \nvariations which caused them to be out of sync with each other.\u003c\/p\u003e\u003cp\u003eThe recent development of Celemony’s \u003cem\u003eCapstan\u003c\/em\u003e \npitch-stabilizing program, used in conjunction with phase alignment \nsoftware, finally enables these problems to be solved with a degree of \naccuracy hitherto unattainable. In successfully synchronizing some \nproposed stereo sides, others have proven to be only in mono. For \nexample, Side 4 of Koussevitzky’s 1930 Tchaikovsky Pathétique came out \nin takes labeled 1 and 1A; however, analysis has proven that at least \none of them was mislabeled, and that they are in fact identical. \nSimilarly, two 1941 Stokowski recordings previously released in what was\n believed to be accidental stereo were shown to be no more than slightly\n out-of-sync mono.\u003c\/p\u003e\u003cp\u003eThe present release brings together nearly all the sides that have \nbeen identified publicly so far as Classical accidental stereo \nrecordings. As the name implies, accidental stereo was never intended to\n be heard in synchronized form, and was not miked the way a stereo \nrecording would have been. Most likely, one microphone was centered on \nthe orchestra, while the other was pointed slightly off to one side. \nHowever, the joined-up results do suggest some directionality that \naccords with what is known of the orchestras’ seating patterns under \nthese conductors. For example, a 1947 picture of Koussevitzky and the \nBoston Symphony on stage at Symphony Hall displays the basses lined up \nto the left and back with the timpani stationed on the right – exactly \nas we hear them in the Tchaikovsky.\u003c\/p\u003e\u003cp\u003eOne can best appreciate the added dimension accidental stereo brings \nat those points where the music blossoms from mono into stereo. \nSuddenly, what has been the auditioning of a historical artifact takes \non a presence and a reality that puts us in the concert hall 85 years \nago – a time machine like no other.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e  Carnival of the Animals \u003c\/span\u003e\u003cbr\u003eAquarium – Personages with Long Ears – The Cuckoo in the Heart of the Woods [stereo]\u003cbr\u003e\u003cb\u003eOlga Barabini\u003c\/b\u003e and \u003cb\u003eMary Binney Montgomery\u003c\/b\u003e(pianos)\n\u003cp\u003eRecorded 27 September 1929 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CVE-51883-2\/2A\u003cbr\u003eFirst issued on Victor 7201 in album M-71\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cbr\u003ePart 1: The Adoration of the Earth\u003cbr\u003eIntroduction [stereo]\u003cbr\u003eGames of the Rival Tribes – Procession of the Wise Elder – Adoration of the Earth – Dance of the Earth [stereo]\n\u003cp\u003eRecorded 24 September 1929 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CVE-37471-4\/4A and 47975-1\/1A\u003cbr\u003eFirst issued as Victor 7227 and 7228 in album M-74\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 6 in B minor, Op. 74 (Pathétique)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e1st Mvt.: Adagio – Allegro non troppo [mono\/stereo]\u003cbr\u003e2nd Mvt.: Allegro con grazia [stereo]\u003cbr\u003e3rd Mvt.: Allegro molto vivace [stereo\/mono]\u003cbr\u003e4th Mvt.: Adagio lamentoso – Andante [mono]\n\u003cp\u003eRecorded 14 - 16 April 1930 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CVE-56824-2, 56825-2, 56832-2\/2A, 56833-1A, 56826-2\/2A, 56827-2\/2A, 56828-1\/1A, 56829-2, 56830-2A and 56831-2\u003cbr\u003eFirst issued as Victor 7294 through 7298 in album M-85\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL  \u003c\/b\u003eBoléro\u003c\/span\u003e [mono\/stereo] \u003cb\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eRecorded 14 April 1930 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CVE-56820-1A, 56821-2\/2A and 56822-2\/2A\u003cbr\u003eFirst issued on Victor 7251\/2 [later in album M-352]\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eBoston Symphony Orchestra ∙ Serge Koussevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eELGAR  \u003c\/b\u003eCockaigne Overture (In London Town), Op. 40\u003c\/span\u003e – conclusion [stereo] \u003cbr\u003e\n\u003cp\u003eRecorded 11 April 1933 in Abbey Road Studio No. 1, London\u003cbr\u003eMatrix nos.: 2B 4176-1\/1A\u003cbr\u003eFirst issued on HMV DB 1936\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBBC Symphony Orchestra ∙ Sir Edward Elgar\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC422.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC422.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhen Mark Obert-Thorn first suggested a collaboration on this project\n a few months ago, neither of us really knew what to expect. Mark's \ntheory that Capstan might prove helpful in synchronising these \nindependently-cut recordings was just that, a theory. I was less sure \nthat Capstan would be as consistant as would be required, particularly \nin certain passages of heavily-rhythmic music, or where microphone \nplacement might cause different instruments to dominate the mix, thus \nstressing different harmonics and changing, if only minutely, the \nsoftware's analysis of pitch.\u003c\/p\u003e\u003cp\u003eAs I began to work on the first recordings sent to me, it was clear \nthat we were onto something - and also that my involvement would have to\n be greater than originally envisaged. With Capstan doing at least 95% \nof the \"grunt work\" on most of the sides, there was still a considerable\n amount of additional work involved, preparing the sides specifically \nfor this project prior to their analysis and repitching to minimise risk\n of error, and then identifying minor mismatches between two \npost-Capstan sides and adjusting manually for this when mixing them \ntogether to produce the stereo result. Finally each side had to be \nfine-tuned using phase-alignment software to identify commonality \nbetween the two channels to a very fine resolution and adjust them to \nfit exactly.\u003c\/p\u003e\u003cp\u003ePrevious to this technology the results have been at times ambiguous.\n We made a number of dicoveries in the process of producing this release\n which strip away this ambiguity and introduce, for the first time, \ncertainty to the identification of these recordings as genuine \n\"accidental stereo\". After apparently successfully mixing \"stereo\" sides\n together I came to a pair of Stokowski recordings that had already been\n identified \u003cem\u003eand released elsewhere\u003c\/em\u003e as accidental stereo \nrecordings. My technique proved otherwise. By bringing a level of \nunprecendented accuracy to the pitching and matching of the two \n\"channels\" I discovered that both were actually identical, and thus the \nclaims for accidental stereo here were erroneous, based on phase errors \nand wishful thinking. No matter how I approached the recordings in \nquestion, I always ended up with the same result: mono.\u003c\/p\u003e\u003cp\u003eBy contrast, the final recording on our release, Elgar conducting his\n Cockaigne Overture, has been specifically highlighted as a recording in\n which \"accidental stereo\" would be impossible, due to working practises\n at EMI's Abbey Road studios at the time, based on testimony of people \nwho had worked there. Some very eminent names have been quoted, stating \nthat any suggestion of accidental stereo here can only be down to the \nkind of phase error and wishful thinking that we found in the case of \nthe Stokowski. They are wrong. There is absolutely no doubt that this is\n genuine accidental stereo in the case of this wonderful recording, and \nit's a fantastic find, given the work and its composer\/conductor here.\u003c\/p\u003e\u003cp\u003eFinally, I was originally thrown by recordings which seemed to wander\n around the stereo soundscape from left to right and then back again. \nWas this an error in my method? No. It became particularly obvious in \nthe third side of the Tchaikovsky symphony that someone was \"gain \nriding\" the output to the disc cutter that produced our left channel, \nwhilst the right channel was being recorded \"straight\" from the \nmicrophone, without any interference with levels. Once this was \nestablished it was a relatively straightforward job to correct for this \nand stabilise the stereo imagery, with the added bonus of accurately \nlosing the effect of gain riding by a nervous sound engineer keen not to\n overload his recording equipment.\u003c\/p\u003e\u003cp\u003eThe end results have been some of the most satisfying of my career in\n audio restoration. There is a real sense of wonder in the recordings \nwhere a mono sound suddenly opens out into a glorious - if perhaps a \nlittle confused - stereo picture. And when listening on headphones, one \nfinds oneself more \"there\" in the recording studio than I've ever felt \nbefore in any recordings of this era. It is a truly remarkable result \nthat I would recommend highly to anyone, regardless of their interest \n(or otherwise) in the pieces being performed or the musicians involved. \nThey only sweeten the pie!\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eHistoric Review: Stravinsky \u0026amp; Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: small;\"\u003eNB. This is how \nthe original reviews of these two highly unusual accidental stereo \nreleases appeared in The Gramophone in 1931. It is an incredible \ncoincidence that they not only appeared in the same review column, but \nthat one followed directly on from the other. It's also instructive to \nfind the music being reviewed over and above the performances at this \npoint in time.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" lang=\"en-GB\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eIt \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eis \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enot disrespect that forces me to \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003edeal \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ewith the Stravinsky work so briefly. The month is overwhelming! I wish I had space to argue the \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eRite\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e and the wrong of it. Parts \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eof \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ethe work are so extraordinarily powerful (taking the composer on his pagan ground) that \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit is \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ea \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003epity \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003ethe \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003erest does not come up to sample. Is \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003etoo long? And are we not now too far from the \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eballet to \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eget \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003ethe \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eflavour of the work? The music is obviously born for the ballet, like all the best of Stravinsky. Outside that, and \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003ehis \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enationalistic colour and rhythm, \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eI \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ecan find next to nothing in him. But the part that \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eis\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e powerful cannot be forgotten, and should not be under-estimated. As far as \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eI \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ecan\n tell without the score at hand (and it is a score one cannot well claim\n to know by heart!) this performance stands up to the music \nmagnificently. The parts are thus labelled :\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003e— First Part: Earth Worship\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e—\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eIntroduction, Immanence of Spring, Adolescents’ Dance, Symbolic Scene of the \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eRape;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e D1920 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eDances in Honour of Spring, Mock Conflicts of Rival Communities, Procession of the Elder, Earth Worship, Dance of the Earth;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e D1921 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eSecond Part—The Sacrifice: Introduction, Mystic Circles of the Adolescents, Glorification of the Chosen Virgin \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cem\u003e;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eD1922 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eEvocation and Ritual of the Ancestors,\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e and \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eSacred Dance of the Chosen One.\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e There is in that strange opening something sad, primitive and elemental \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e: \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ethere the composer \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003egets \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enearest t\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eo\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e imaginative reality. The short- windedness of \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eso \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003emuch\n of the music, and its rhythmic complications, which do not always come \noff, its (to some of us) depressing primeval peasantism, prevent \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eus \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003efrom enjoying half the work. Still, those who like the work as a whole will be glad to have this, than which \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ewould be difficult to imagine a clearer, more rapt performance.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cspan\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eThe Tchaikovsky is of course a “ big noise ’’ (not \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe bad sense). Inevitably, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ea \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eman like Koussevitzky is \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eright match for \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ehis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ecompatriot.\n Here is another side of the Russian, but Stravinsky and Tchaikovsky are\n scarcely to be compared, in spite of the former’s admiration for the \nearlier writer. Here is cultivation—to excess, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eI \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efeel\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethat is partly why some musicians find Tchaikovsky rather unhealthy. It is not only \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003egloom, which one can take \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe stride \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eand there \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eno disparagement of workmanship, which indeed, we enormously admire. The \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e\u003cem\u003eideas\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e are not wearing well\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e—\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eso we \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efeel. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eThe gloopiness \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ejust a little too slick; but what stuff to give ’em in the nineties\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e! \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eI \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003elike Koussevitzky’s basses, his precision with \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ebrass,\n the strings’ persuasiveness and their whoops aloft, the lighter wind \nwhiffs, the delicate phrasing in the 5-4 movement, with the touch of \ngravity here (needed for balance, since \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe March is rowdy, repetitive, but \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efull \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eof gusto). The First and \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003elast \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003emovements, by the way, take two discs each, the second and third one each. The March \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis never \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eloud enough for me; the trouble \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethat \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eit cannot, accumulate force at every one of the (too many) \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003erepetitions. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eAt \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe last, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eJL \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ewant to see every door of the hall \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eburst \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eopen, and \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ea \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ebrass band march \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein at \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eeach \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspa\u003e\u003c\/spa\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 16-bit FLAC","offer_id":31975526477,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975526541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC422_a964a522-a949-432b-861f-9b094df175b3.jpg?v=1487682064"},{"product_id":"pasc464","title":"MONTEUX at Tanglewood, Volume 1 (1958) - PASC464","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Violin Concerto\u003cb\u003e\u003cbr\u003eBEETHOVEN \u003c\/b\u003eThe Creatures of Prometheus - Excerpts\u003cb\u003e\u003cbr\u003eBEETHOVEN \u003c\/b\u003eLeonore Overture No. 3\u003cbr\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nocturnes\u003cb\u003e\u003cbr\u003eRAVEL\u003c\/b\u003e La Valse\u003cb\u003e\u003cbr\u003eMILHAUD\u003c\/b\u003e Prelude from Eumenides\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione\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\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, 1958\u003cbr\u003eTotal duration: 2hr 15:06 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003ePierre Monteux, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBerl Senofsky\u003c\/b\u003e, violin\u003cp\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe real gems here are the Beethoven and Hindemith...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePierre Monteux, one of the more \nversatile maestros of the 20th century, was never able to shake off his \nunjust typecasting as a specialist in French music and ballet music, \nespecially that of the early part of his century. This pair of CDs, in a\n way, serves as a case in point, for the real gems here are the \nBeethoven and Hindemith performances. CD number one contains unnecessary\n recordings of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n pieces that he made superior studio recordings of and, with outstanding\n and better-sounding recordings by Abbado, Ansermet, and Boulez \navailable, one doesn’t have to go very far into the alphabet to do at \nleast as well. On the other hand, the Beethoven performances strike me \nas outstanding as well as frustrating. In an explanatory note, the \nproducer of this pair of CDs points out the difficulties, including peak\n distortion that he encountered when attempting to bring the original \ntapes up to standard. Unfortunately, he was unable to neutralize it \nenough in loud passages and, for this listener at least, peak distortion\n spoils Monteux’s supercharged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eNo. 3, his well-judged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrometheus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e excerpts (Would anyone ever perform the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n if it were not the only example of Beethoven’s use of the harp?), and \none of the loveliest, beautifully calculated renditions of Beethoven’s \nViolin Concerto that I have ever experienced … and I learned the piece \ndecades ago on the Heifetz\/Toscanini 78s. Beryl Senofsky’s playing is \nalmost rhapsodic but definitely not episodic. He turns the Kreisler \ncadenzas into miniature dramas, so beautifully shaped are they. The \nwhole performance is more like a dialectic, not a reading, and \nMonteux—not an easy accompanist to “lose”—is with him all the way. But \nthose \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es—they turn fuzzy, and this doesn’t help Monteux’s appropriately stately, refined performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNobilissima Visione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n either. I can only hope that there’s a better source tape out there \nsomewhere and that a better source exists for the 1959 and 1961 \nconcerts. If I remember correctly, I attended a dynamic Monteux Brahms \nFirst during the summer of 1961, so I’ll keep my fingers crossed.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC464.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 1: 1958\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"One of the loveliest, beautifully calculated renditions of Beethoven’s Violin Concerto that I have ever experienced\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eA good number of Pierre Monteux's concerts with the Boston Symphony \nOrchestra at Tanglewood in the summers of 1958, 1959 and 1961 were \nbroadcast in early stereo FM broadcasts and preserved on tapes that have\n circulated privately over the years and, occasionally, seen the light \nof day on commercial releases. This first volume concentrates on 1958 \nperformances of Beethoven and more modern music by French composers \nDebussy, Ravel, Milhaud and the German Paul Hindemith, together \nproviding a contrasting repertoire of music, the highlight of which will\n be, for many, the fine performance of Beethoven's Violin Concerto of \n9th August with American violinist Berl Senofsky.\u003c\/p\u003e\u003cp\u003eThe original tapes were rather hissy and closely recorded, resulting \nin a lack of perspective and space. They also suffered from peak \ndistortion and, in places, intermittent treble dropout on one channel. \nI've done a lot to alleviate all of these problems, as well as seeking \nto improve the overall tonal balance of the recordings. The sound is now\n much cleaner and clearer, with a real sense of space, and if some peak \ndistortion has been impossible to entirely eliminate in the very loudest\n sections, these are relatively few and far between and have been \nsignficantly improved.\u003c\/p\u003e\u003cp\u003eThe stereo imagery is good for a live recording so early in the \nstereo era, assisted by digital phase correction technology. I elected \nto remove the rather lengthy introductions and links from the original \nradio broadcasts to allow for as much music as possible.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMILHAUD\u003c\/b\u003e Les Eumenides, Op. 41 - Act 3: Prelude\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nocturnes\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003eRAVEL\u003c\/b\u003e La Valse\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 25 July, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003eBEETHOVEN\u003c\/b\u003e Leonore Overture No. 3, Op. 72b\u003c\/span\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003eBEETHOVEN \u003c\/b\u003eThe Creatures of Prometheus, Op. 43 (excerpts)\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\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\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto in D major, Op. 61\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 9 August, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerl Senofsky\u003c\/b\u003e, violin\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\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 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Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":2601026715674,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":2601026748442,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":2601026781210,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC464_78956ed9-a729-457d-a972-3d480acffa89.jpg?v=1508834827"},{"product_id":"pasc438","title":"REINER Rarities, Volume 3 (1938-49) - PASC438","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\u003eDEBUSSY \u003c\/b\u003ePrelude to the Afternoon of a Faun - Two Nocturnes - Danse\u003cb\u003e\u003cbr\u003eRAVEL \u003c\/b\u003eDaphnis and Chloe – Suite No. 2 - La Valse\u003cb\u003e\u003cbr\u003eHONEGGER \u003c\/b\u003eConcertino for Piano and Orchestra\u003cb\u003e\u003cbr\u003eBERLIOZ \u003c\/b\u003eDamnation of Faust – Hungarian March\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\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings, 1938-49\u003cbr\u003eTotal duration: 72:20\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eFritz Reiner, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eOscar Levant, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003ePittsburgh Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eCBS Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReiner demonstrates his ability to take a score and realize it with such freshness and subtlety that it seems reinvented578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePresenting Fritz Reiner conducting a \nprogram of French music may seem unexpected. We don’t usually associate \nhim with this repertory. But as a Hungarian, Reiner came from a country \nheavily affected by French culture. He studied piano with Bartók, who \nwas deeply influenced by Debussy. Reiner was a Modernist, drawn to the \nmusic of his lifetime. Also, as a brilliant orchestral technician, \nReiner liked to present scores that challenged his abilities, such as \nthose of Debussy, Ravel, and Arthur Honegger (who was Swiss). He \nrecorded Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand first two \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith members of the New York Philharmonic. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas qualities familiar from Reiner’s Chicago \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, namely plasticity, gorgeous tone, and a delicate emphasis on musical transitions. My favorite stereo account of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is by Erich Leinsdorf and the Los Angeles Philharmonic on Sheffield \nLab. It leaves you breathless, while Reiner’s is a more epicurean \naffair, portraying the faun’s dreaming as in Mallarmé’s poem. The first \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturne\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n “Nuages,” comes off like a night scene by Whistler, with infinite \nvariations of blue and gray. Reiner’s “Fêtes” is quick and lively, even a\n little fierce. My favorite stereo version of the complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n by Ernest Ansermet, presents an old-fashioned French orchestral sound \nthat is probably closer to what Debussy would have expected than \nReiner’s well-manicured performance. Interestingly, the same recording \ncompany in the same venue and year recorded John Barbirolli, the \nPhilharmonic’s music director, in Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIbéria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. That rendition is very good, but lacks Reiner’s mastery. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the Pittsburgh version of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in Ravel’s orchestration, Reiner demonstrates his ability to take a \nscore and realize it with such freshness and subtlety that it seems \nreinvented. He conducted the CBS Symphony a number of times. In their \nbroadcast of the second \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis and Chloé \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esuite,\n the scenes are painted so vividly that they recall Marc Chagall’s \nillustrations for the story. Reiner’s tempos are flexible, with hints of\n portamento here and there. The unnamed first flute perhaps gives the \nperformance of his life. Reiner gets a wonderful pagan feeling in the \nconcluding “Danse générale.” His Pittsburgh \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n the best recording of the work I’ve ever heard, challenging my memory \nof Jean Martinon conducting it in concert in the 1970s, with the Hague \nPhilharmonic. In the opening, the strains of the waltz seem to come \ntogether out of some primordial time. The ensuing bite of the trumpets \nis amazing and frightening—there’s no oompah to this waltz. The composer\n Robert Bonnotto told me that the work should end with a feeling of \nmenace. Reiner agrees. These Ravel recordings may lead you to hunt down \nReiner’s excellent 1952 NBC \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe tombeau de Couperin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGreat Conductors of the 20th Century\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e set. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMy first acquaintance with Honegger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino for Piano and Orchestra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was a lyrical performance on a Turnabout LP by Walter Klien and \nHeinrich Hollreiser. Reiner conducted the American premiere in 1927. \nHere he leads a chamber orchestra dubbed the Columbia Symphony. He and \nthe pianist Oscar Levant were friends; there are some interesting \nanecdotes about Reiner in Levant’s first book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. He and Reiner find a mixture of Bach and 1920s Paris in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Levant’s tone is distinctive, broad but delectable in its details. \nReiner’s accompaniment is hand in glove, with an appealing insouciance. \nThe Pittsburgh “Rákóczy March” is as much Hungarian as French, with some\n rhythms that sound like Liszt. The concluding diminuendo is an \ninteresting, unexpected touch. Producer Mark Obert-Thorn’s remasterings \nalways are pleasant to listen to, and, in the case of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a good deal more so. Indeed, it’s amazing how well the 1938 recordings \nof the New York Philharmonic capture the beauty of its tone, something \nLevant felt emanated from the concertmaster, Michel Piastro. This is a \nCD that will haunt your imagination long after you’ve heard it. Reiner’s\n French repertoire may not have been extensive, but the works he did \nperform he clearly savored. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“There are few conductors who impress \nan orchestra (also composers) at first contact as strongly as does Fritz\n Reiner, whose knowledge of everything pertaining to the mechanical \nperformance of music is, briefly, unparalleled. He has evolved a \npersonal sign language which leads an orchestra through the most complex\n scores of Strauss and Stravinsky with the ease and sureness of a \ntightrope walker who performs a backward somersault blindfolded. \nWhenever the complexity of the scoring is a sufficient challenge to his \nskill, Reiner will subdivide beats, flash successive cues to remote \nsections of the orchestra with either hand and meanwhile indicate the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in which he takes such great delight, by a bodily movement that totals \nby a kind of physical mathematics to the exact effect on the printed \npage. His ear so acute, not only for intonation but also for dynamics, \nthat he can detect a wrong bowing when his back is turned to the section\n from which it emanates. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Together with these faculties is a \nfacility for terrifying inferior orchestras unequaled among conductors \nof the present day. His technique in this field is no less sophisticated\n than it is in his conducting. A mere series of facial expressions can \nshade his degrees of contempt for a nervous oboist or a fright-palsied \nviolinist as artfully as he fades an orchestra from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emezzo piano \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e pianissimo. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eHis\n passion for the least audible of sounds has created among violinists a \nnew form of occupational illness known as ‘Reiner-paralysis.’ When he is\n sufficiently challenged by an operatic score, such as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or by the collaboration with a fine soloist, he can achieve fabulous \nresults. The reactions he induces from the orchestras he has conducted \nrun the full gamut of all emotions but deep affection.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat was Oscar Levant on the subject of Fritz Reiner in his book \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n written in 1939. Ten years later, he found himself receiving the \nbenefit of Reiner’s superior conducting technique when they collaborated\n on a recording of Honegger’s 1924 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino for Piano and Orchestra, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOriginally coupled on a 10-inch LP with Eugene Ormandy’s successful (and poker-faced) attempt to squeeze \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sorcerer’s Apprentice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n onto one 78-rpm disc, it has probably never been issued on CD until \nnow. I have heard two other recordings of the Honegger. Thibaudet and \nDutoit toss it off like a piece of 1920s “wrong-note” fluff, which I \nsuppose it is. Weber and Fricsay seem wittier and more tongue-in-cheek \nin a nice performance that now comes only as part of a 45-disc set \ndevoted to Ferenc Fricsay’s DG recordings. The approach of Levant and \nReiner, however well-executed, is more sober and serious and I don’t \nthink this necessarily works to the music’s advantage. Oscar Levant \nhumorless? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the CD certainly demonstrates the superior baton technique Levant was praising. In the “Rákóczy March” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa damnation de Faust\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Reiner is the supreme drillmaster, securing brilliant, precise playing \nfrom the Pittsburgh Symphony Orchestra. The performance, oddly, ends \nwith a diminuendo—is that the way it ends in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa damnation\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e? In the Debussy \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehe\n demonstrates that the best way to deal with “Impressionism” isn’t \nnecessarily to create a sonic fog but to pace it flexibly, reacting to \nthe music’s “inner rhythm” as he perceives it and exposing detail. \nReiner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaune\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nand “Nuages” are models of rhythmic suppleness and exposure of \norchestral color even with their 1938 sound, and the New York \nPhilharmonic, which wasn’t always polite to guest conductors, plays for \nhim. The performers were uncredited. The 78s were issued as part of a \nbudget series called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe World’s Greatest Music\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which also included anonymous recordings by Ormandy and Rodzinski. Some may find the procession in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFêtes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e a bit too sprightly—he also zips through Ravel’s orchestration of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, probably to get it on one 78-rpm side \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRegrettably, other than \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Reiner’s opportunities to record Debussy’s works with the Chicago \nSymphony Orchestra were limited, presumably because Charles Munch was \nFrench. It is likely that the latter also received priority from RCA \nVictor where Ravel’s music was concerned, although Reiner did manage to \nrecord the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRapsodie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which Munch also recorded with the Boston Symphony; the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eValses nobles et sentimentales\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which Munch later recorded with the Philadelphia Orchestra for Columbia; and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlborada del gracioso,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e which Munch did not record. Dating from 1947, Reiner’s Pittsburgh \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n an aggressive, brilliant rendition that was probably the best \nrecording\/performance of its time. Too bad he never got to record it \nagain 10 years later. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n is marred by narrow dynamic range and some congestion at loud volumes. I\n think the lower strings are barely audible at the start of the big \nclimax in “Daybreak”; at the climax, Reiner holds the brasses down just \nenough for the violins to shine through. One might expect the “Danse \ngénérale” to be exhilarating—the real surprise is the “Pantomime,” with \nits pauses for breath, so leisurely and flexible, which Reiner could \nalmost be said to milk. It’s almost hypnotic in its effect (at least on \nme). The performances give pleasure—but also frustration, when one \nconsiders what might have been had he had the opportunity to take \nadvantage of post 78-rpm\/monaural recording technique. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC438.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eReiner Rarities, Volume 3: Debussy, Ravel, Honegger and Berlioz\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a CD that will haunt your imagination long after you’ve heard it\"- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eLike the two earlier releases in this series (PASC 235 and 294), this\n volume of Reiner Rarities features works which are rare in more than \none sense  First, these are Fritz Reiner’s only commercial recordings of\n the works presented.  In addition, none of them have ever received an \n“official” CD reissue from their originating labels.  The current \nrelease features all of Reiner’s French repertoire recordings which fall\n under these criteria.\u003c\/p\u003e\u003cp\u003eThe Debussy \u003cem\u003eFaune\u003c\/em\u003e and \u003cem\u003eNocturnes\u003c\/em\u003e come from Reiner’s \nearliest issued recording session, although they were originally \npublished without crediting the conductor or the orchestra.  They were \npart of the “World’s Greatest Music” series recorded by RCA Victor for \nthe New York \u003cem\u003ePost\u003c\/em\u003e, which featured similarly anonymous recordings by Ormandy and the Philadelphia and Rodzinski and the NBC Symphony. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis session featured 78 players from Barbirolli’s New York \nPhilharmonic, and also included works by Wagner.  What is particularly \nstriking here, as in many of the recordings featured in this program, is\n Reiner’s pacing, allowing the music to unfold with seeming \ninevitability even as he moves it along, choosing tempi that seem \nideal.  (The uncredited flute soloist in \u003cem\u003eFaune\u003c\/em\u003e is most likely John Amans, the Philharmonic’s principal at the time.)\u003c\/p\u003e\u003cp\u003eThe broadcast of the \u003cem\u003eDaphnis\u003c\/em\u003e Suite, although not a \ncommercial recording, was part of the series of V-Discs released by the \nU.S. government for the entertainment of servicemen during World War II,\n and falls under Reiner’s issued discography.  Again, one is struck by \nthe pacing, the judgment in the length of pauses, and the choices for \nwhen (and how much) to use string portamenti to underline emotional \npoints.\u003c\/p\u003e\u003cp\u003eThe Pittsburgh recordings document Reiner’s decade as music director of that city’s orchestra.  In \u003cem\u003eLa Valse\u003c\/em\u003e,\n Reiner does not play his hand too early, letting loose only in the \nfinal pages (in contrast to Munch, who, for all his admitted excitement,\n plays it at fever pitch from the start).  The Ravel orchestration of \nDebussy’s \u003cem\u003eDanse\u003c\/em\u003e gets an appropriately energetic performance, while the rousing Berlioz march ends with an unusual, rarely-heard diminuendo.\u003c\/p\u003e\u003cp\u003eIn 1927, Reiner conducted the U.S. première of Honegger’s 1924 \nsingle-movement Concertino, a work which seems to have been somewhat \ninfluenced by Prokofiev’s Third Concerto.  The soloist, Oscar Levant, is\n perhaps best known today for his acting work in such films as \u003cem\u003eAn American in Paris, The Band Wagon\u003c\/em\u003e and \u003cem\u003eHumoresque\u003c\/em\u003e;\n but in his time, he was a highly popular piano soloist specializing in \ntwentieth century repertoire (particularly the works of his friend, \nGeorge Gershwin), as well as an author, composer and raconteur.\u003c\/p\u003e\u003cp\u003eThe sources for the recordings were American Columbia LPs for \u003cem\u003eLa Valse\u003c\/em\u003e and the Honegger, and shellac 78 rpm discs for the remaining items, except for the \u003cem\u003eDaphnis\u003c\/em\u003e Suite, which was taken from a tape of original off-the-air acetates, which sounded better than the V-Disc dubbings.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePrélude à l’après-midi d’un faune\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 22 November 1938 in Carnegie Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  CS-028849-1\/028850-1 - First issued on World’s Greatest Music SR-17\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cbr\u003eNocturnes\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2          Nuages \u003cbr\u003e3          Fêtes\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 22 November 1938 in Carnegie Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  CS-028851-1\/028852-1A\/028853-1A\/028854-1A - First issued on World’s Greatest Music SR-18\/19\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e4          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDanse (Tarantelle styrienne) (orch. Ravel)\u003c\/b\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 April 1947 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-37578 - First issued as Columbia 12785-D in album X-296\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDaphnis et Chloé – Suite No. 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e5          Lever du jour \u003cbr\u003e6          Pantomime\u003cbr\u003e7          Danse générale \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive broadcast 2 September 1945 from the CBS Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  VP-1543-D5-TC-1340-1H\/VP-1544-D5-TC-1341-1M\/VP-1545-D5-TC-1342-1D\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued as V-Disc 546\/7\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e 8          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eLa Valse\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 April 1947 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-37575\/7 - First issued as Columbia 12784-D\/12785-D in album X-296\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHONEGGER\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eConcertino for Piano and Orchestra \u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e9          Allegro molto moderato –  \u003cbr\u003e10        Larghetto sostenuto –   \u003cbr\u003e11        Allegro  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eOscar Levant\u003c\/span\u003e (piano)\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 6 July 1949 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: XCO-41374\/6 - First issued as Columbia ML 2156\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e12        \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eHungarian March (from \u003cem\u003eLa damnation de Faust\u003c\/em\u003e, Op. 24)\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 15 November 1941 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-31902 - First issued as Columbia 11709-D in album M-491\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/b\u003e(Tracks 1 – 3)\u003cbr\u003e\u003cb\u003ePittsburgh Symphony Orchestra \u003c\/b\u003e(Track 4, 8 \u0026amp; 12)\u003cbr\u003e\u003cb\u003eCBS Symphony Orchestra\u003c\/b\u003e (Tracks 5 – 7)\u003cbr\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e (Tracks 9 – 11)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFritz Reiner\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC438.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC438.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":31975874765,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975874829,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC438.jpg?v=1487682463"},{"product_id":"pacm065-cd","title":"BUDAPEST QUARTET Ravel \u0026 Debussy: String Quartets (1940) - 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PASC338","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003eRussian Easter Festival Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Symphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Capriccio Espagnol\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eBoléro\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded in 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 69:12\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eDetroit Symphony Orchestra \u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econductor \u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003ePaul Paray\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI recommend it especially for its fine performances of the “Antar” Symphony and Bolero. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAfter achieving striking success with recordings \nof the 78-rpm era, Pristine’s Andrew Rose has increasingly applied his \nproprietary sound restoration techniques to those of the 1950s. \nMercury’s Living Presence recordings have always been highly regarded in\n audiophile circles, so the need for Rose’s intervention is less \nimmediately apparent here. I do not have the Mercury editions of any of \nthe pieces on this disc, and none are currently available, so direct \ncomparisons are not possible. Recorded in February 1953, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCapriccio espagnol\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBolero\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are from Mercury’s first sessions with the Detroit Symphony, and Rose \nwrites that these recordings “seem slightly less polished technically” \nthan the other pieces on the disc, which date from 10 months later. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBolero\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in particular showed evidence of gain riding, which Rose sought to \nreverse in his restoration. The review disc uses Pristine’s “ambient \nstereo” processing, which seeks, as Rose describes it, to “extract from a\n mono recording … room ambience and spread it into the stereo field.” \nBut the source remains mono and the processing does not seek to divide \nthe direct instrumental sound between two channels. A straight mono \nversion is also available from Pristine for those who desire it. The \nsound of the review disc, although yielding something in spaciousness \nand detail to more modern productions, still possesses more of those \nqualities than one would expect. The results are especially impressive \nwhen the orchestra is playing flat-out, and one would be hard-pressed, \nin a blind test, to identify this sound as emanating from mono \nrecordings of the early 1950s. At lower levels, the sound sometimes \nshows its age to a greater degree, losing immediacy and tonal color, but\n at other points remains luminous, clear, and open. Although presumably \ndubbed from LPs, the Pristine reissue seems free of any noticeable \nsurface noise or defects.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFrench conductor Paul Paray (1886–1979) headed the\n Detroit Symphony from 1952 through 1963. As the performances on this \nrelease demonstrate, he had a penchant for swift and firmly sustained \ntempos, precise and well-defined rhythm, and incisive phrasing. He \noffers a straightforward performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRussian Easter\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n steady in the opening slow section, fast and firm for the main tempo, \nstill faster at the end. His timing of 13:23 shaves one to two minutes \noff the performances of Neeme Järvi (DG), Antal Doráti (Mercury), Evgeny\n Svetlanov (Warner), and Gerard Schwarz (Naxos). The results are \nbracing, if missing some of the expansiveness and epic breadth others \nhave brought to the piece. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAntar\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the lengthiest work on the disc, Paray’s urgent, incisive, and firmly \npaced approach is a complete success. Paray is less flexible and linear \nbut just as thrilling as his countryman Pierre Monteux in the latter’s \n1946 San Francisco recording (RCA, available from ArkivMusic). Järvi \n(DG) seems by comparison a bit too relaxed and drawn-out, lacking \nParay’s tension and energy. Paray also gets though \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCapriccio espagnol\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n more quickly than most, with a timing of 14:33. The Alborada is a bit \nhurried, especially in its second appearance. The variations seem too \nmetrical and rather lifeless at the beginning but improve once the music\n becomes more assertive. The two concluding sections (which account for \nmore than half the total length of the piece) are excellent, \nrhythmically incisive and gratifyingly propulsive without being \noverdriven.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eParay and the Detroit Symphony recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBolero\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n again in 1958, in stereo, and the Mercury CD reissue of that recording \nis still available through ArkivMusic, but I do not have it available \nfor comparison. With a timing of 13:02, Paray is characteristically \nbrisk and rhythmically incisive in this 1953 performance. (For \ncomparison, Monteux, on Philips, is 15:23; Boulez, on DG, is 14:58; \nGergiev, on LSO Live, is 15:46.) I very much like Paray’s crisp and \nurgent approach, which helps to stave off the monotony that can creep \ninto this piece at a slower pace. In fact, I haven’t enjoyed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBolero\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e so much in years.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eUnder Paray, the Detroit Symphony plays for the \nmost part with tight discipline, incisive attacks, and brilliance and \nsolidity of tone, although there are occasional minor imperfections of \nexecution. Paul Paray was a major representative of the French \nconducting tradition, and this release is a worthy addition to his \ncurrently available discography. I recommend it especially for its fine \nperformances of the “Antar” Symphony and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBolero. \u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDaniel Morrison  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC338.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eParay's first Mercury recordings with the Detroit Symphony\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe start of a beautiful friendship...\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cp class=\"body\"\u003eMercury was quick to sign up Paul Paray and the Detroit Symphony Orchestra, and the earlier of the two LPs represented here, their recordings of February 1953 of Rimsky-Korsakov's Capricicio Espagnol and Ravel's Boléro were the first recordings of a lengthy collaboration between the musicians and the record company. Despite there being only 10 months between them, these recordings do seem slightly less polished technically than the later work on this release.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBoléro was a clear case of \"fader riding\" - the microphone had been turned up to full gain to capture the quiet beginning and then gradually reduced in level to compensate for the huge rise in orchestral volume throughout Ravel's lengthy crescendo. I've tried to compensate for this and return some of the orchestra's full dynamic range in this restoration, as well as considerably improving the orchestral tone throughout.\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\u003eRIMSKY-KORSAKOV\u003c\/strong\u003e Russian Easter Festival Overture\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRIMSKY-KORSAKOV\u003c\/strong\u003e Symphony No. 2 \"Antar\", Op. 9\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 7 December 1953 Orchestra Hall, Detroit Issued as Mercury MG-50028\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRIMSKY-KORSAKOV\u003c\/strong\u003e Capriccio Espagnol\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e Boléro \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 13-20 February 1953 Orchestra Hall, Detroit Issued as Mercury MG-50020 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eDetroit Symphony\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003ePaul Paray \u003c\/strong\u003econductor \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2012\u003cbr\u003eTransfers from Mercury LPs by Edward Johnson \u003cbr\u003eCover artwork based on a painting of Rimsky-Korsakov by Valentin Serov, 1898 \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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC338.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC338.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSleevenotes from the original LP\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAbout PAUL PARAY and the DETROIT SYMPHONY ORCHESTRA\u003cbr\u003e\u003cbr\u003eBecause of Paul Paray's tremendous vitality and kinetic energy, his very presence at an ordinary social gathering seems to electrify the atmosphere. Such is the sheer personal impact of this remarkable artist who in the fall of 1952 took over the musical destinies of the Detroit Symphony Orchestra which Mercury is so proud to present on its Olympian Series recordings.\u003cbr\u003e\u003cbr\u003eThe Detroit Symphony Orchestra came into existence in the spring of 1914. Four years later, when the renowned conductor-pianist, Ossip Gabrilowitsch, began his long association with the Orchestra, Detroit became the proud possessor of one of the nation's great symphonic organizations.\u003cbr\u003e\u003cbr\u003eThe death of Gabrilowitsch in 1936 ushered in a difficult transition period for the fortunes of Detroit's orchestra; but by 1951 it had become very plain to all music-minded citizens of the Motor City that support of a great symphony orchestra must be the cultural responsibility of the entire community. Thanks to the leadership of John B. Ford, Jr. and Jerome H. Remick, Jr., the Detroit Symphony Orchestra came gloriously into its own once more when, on the evening of October 18, 1951, Paul Paray conducted the first concert of a completely re-organized ensemble, and this marked a new era in the musical life of Detroit.\u003cbr\u003e\u003cbr\u003ePaul Paray, whose personal and musical dynamism has created considerable excitement in Detroit and elsewhere in the country where he has appeared as guest conductor, is a musician of singularly wide background and experience. In 1911 he was a Prix de Rome winner at the Paris Conservatoire; but his subsequent musical activities were interrupted by combat duty in World War One. Only in 1918 did young Paray embark in earnest on a conductorial career. First he was appointed assistant conductor of the Lamoureux Orchestra in Paris; then in 1923 he became that orchestra's permanent leader. Nine years later saw Paray taking over the famous Concerts Colonne in Paris, succeeding Gabriel Pierne. Paray's American debut was with the N. Y. Philharmonic-Symphony at Lewisohn Stadium, where he scored a dazzling personal triumph and was acknowledged as one of Europe's greatest masters of the baton; but again the onset of war made it impossible for him to follow up his initial success. The war and occupation years in Paris saw him defying the Nazis at every turn, using the power of music and of his personal prestige as his principal weapons. Only when his own life was in immediate and deadly peril did he \"exile\" himself to Monte Carlo until after the liberation, when Paris welcomed him home as a conquering hero.\u003cbr\u003e\u003cbr\u003eIt was in 1951 that Paul Paray, now an Officer of the Legion of Honor and a \"Membre d I'lnstitut\", returned to America, there to conduct the first five concerts of the reorganized Detroit Symphony Orchestra. So overwhelming was the power and vitality of his musicianship that his appointment as permanent conductor was assured; and in the fall of 1952 Paray was proud conductor of an expanded 104-piece Detroit Symphony boasting in its first chairs and in its ranks some of the finest musicians in the country.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eABOUT THIS RECORDING\u003cbr\u003e\u003cbr\u003eAs in all the LIVING PRESENCE symphonic recordings made under the celebrated Olympian Series and Golden Lyre imprints, Mercury has employed here its unique recording technique based on the use of a single Telefunken microphone hung about 15 feet directly over the conductor's podium. Fairchild tape recorders have been used both for recording the actual perform ance and for the processing from tape to disc. This last was done in conjunction with the newly developed Miller recording cutter driven by the Mcintosh amplifier, and operated in conjunctior with the Fine-Fairchild Margin Control technique of continuously variable pitch and variable depth of cut—thus assuring a 100-percent reproduction in disc form of the recording captured originally on magnetic tape,\u003cbr\u003e\u003cbr\u003eFOR BEST RESULTS, this record should be played at FULL ROOM VOLUME. Only in this way will the quieter musical passages be heard in proper relationship to the full orchestra climaxes.\u003cbr\u003e\u003cbr\u003eMercury MG50028, sleevenote excerpt\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 FLACitle","offer_id":2954524885018,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":2954524917786,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":2954524950554,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":2954524983322,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC338.jpg?v=1510980524"},{"product_id":"pasc338-cd","title":"PARAY conducts Rimsky-Korsakov and Ravel (1953) - PASC338 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC338.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478147405,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478147469,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC338_b26f40cc-55d6-40a5-8c37-3d8728777434.jpg?v=1658308081"},{"product_id":"pasc346","title":"PARAY conducts Franck, Ibert, Ravel, Chabrier (1953\/55) - PASC346","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003eSymphony in D minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIBERT \u003c\/b\u003eEscales\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eRapsodie Espagnole\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCHABRIER \u003c\/b\u003eEspaña - Rapsodie\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded in 1953 and 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 71:07\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDetroit Symphony Orchestra \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003ePaul Paray\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI really feel that I was hearing this beloved recording for the first time. And I am captivated by it. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eCan a mere remastering of a favorite recording \nleave you in tears? In my case, with Andrew Rose’s version of Paul \nParay’s 1953 Franck Symphony, the answer is yes. I first read about this\n performance in Martin Bookspan’s volume on recordings of the standard \nrepertoire, where he contrasted it with Furtwängler’s nearly \ncontemporaneous, moodier version. I was intrigued, but where was a \nhigh-school student in Wayne, New Jersey, in the 1970s to locate a copy?\n Lo and behold, one day the discontinued Mercury Wing LP reissue showed \nup in a bargain bin at the local Kmart. I’ve never looked back where the\n Franck is concerned. This is the finest version of the Symphony that I \nknow of, going back to Stokowski’s 78s, which I once owned. What Andrew \nRose has done with the sound is wonderful. My LP has lots of sonic \nimpact, but it is pitched rather sharp and displays the orchestra with a\n somewhat acidic quality. Rose has corrected the pitch and allowed for a\n far more realistic dynamic range across the frequency response. \nBalances are better, details are thrown into meticulous relief, and \noverall the orchestral color is more appealing. I really feel that I was\n hearing this beloved recording for the first time. And I am captivated \nby it.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eYears ago at Tanglewood, Joseph Silverstein and \nAndré Previn were rehearsing Franck’s Violin Sonata, when Previn said he\n couldn’t stand the religiosity of Franck’s Symphony. Silverstein \nreplied that when it is played straightforwardly, without affectation, \nit is a very appealing piece. That essentially is the approach Paray \ntakes. Not that there isn’t a fair amount of flexibility. Paray’s \nreading in its way remains religious, containing that lyrical French \nreligiosity exemplified by Fauré. The wonderful Detroit brass, in \nparticular, help to establish the sonority of a 19th-century French \norgan, with all the religious feeling that conveys. As the piece begins,\n Paray captures Franck’s evocation of the opening of Liszt’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Préludes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which Paray recorded beautifully, too. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLento\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n builds up with a steady inevitability. In the main section (and \nthroughout the symphony), Paray gets a true legato from the strings, \nemploying rubato subtly. This reminds me that two conductors Paray said \nwere “good” for him were Schuricht and Barbirolli—both of whom could get\n a lyrical feeling from an orchestra. The movement’s big moments have \nthe quality of an organ improvisation, with apocalyptic overtones. The \nnext movement is taken at a true \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n rather than being a slow movement. The first chairs shine, and Paray \nbrings out a wealth of detail without any fussiness. The last movement \nis not rushed; Paray constructs its chords beautifully. The brass \npossess an authentic Gallic sound we no longer hear. This recording \nsimply is a classic.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eConsidering the Ibert and Ravel, I have on hand \nthe CD of Paray’s 1962 stereo remakes of these works. The earlier 1955 \nperformances are superior. While the 1962 renditions were captured on \n35mm film and have a superior fleshy impact, the single-microphone 1955 \nmonaural sound is better balanced and feels more musical. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEscales\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Paray used slightly broader tempos in its outer movements in 1955, to \nsplendid effect. In the first movement, the Detroit strings play with \ngraciousness worthy of Beecham. Paray employs a wide dynamic range \nsoaked through with color. An earthy, unhackneyed Arabian scene follows \nin the next movement. For “Valencia,” Paray’s spacious tempo allows all \nthe festive sounds to come through without caricature.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Ravel opens at a sultry evening rich in \npossibilities. The dance rhythms of the following Malagueña possess snap\n without haste. An indigenous elegance informs the Habanera. In the \nconcluding “Feria,” elements of the entire scene appear subtly, then \ncoalesce. The Moorish element in the second section is richly evoked. \nThis is distinctive Ravel.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLastly, Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEspaña\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n gets a brilliantly virtuosic performance, with its tricky rhythms \nalways lucid. It comes from the same session as the Ibert and Ravel but \nis better engineered; did the Mercury team move the microphone, or did \nthe orchestra’s seating arrangement change? Perhaps this simply is a \nmastering issue with the LP source Andrew Rose used.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI regret that I do not have Paray’s stereo \nversions of the Franck and Chabrier on hand for comparison. If you are \nlooking for stereo recordings of this repertoire, I would recommend \nPierre Monteux or Andrew Davis in the Franck, Leopold Stokowski in the \nIbert, Yan Pascal Tortelier in the Ravel, and Eugene Ormandy in the \nChabrier. But anyone who loves Franck’s Symphony will want to hear \nAndrew Rose’s CD. Harold Gomberg, longtime principal oboe of the New \nYork Philharmonic, listed Paray among the five best conductors he ever \nplayed for. This CD will leave you in no doubt why. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC346.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eFranck's Symphony gets a brilliant delivery from Frenchman Paray\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eFellow-countrymen Ibert, Ravel and Chabrier investigate musical influences beyond French borders\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe transfers for this release came from the collection of Edward Johnson, to whom I am once more grateful. The Franck dates from Paray's first recording sessions for Mercury with the Detroit Symphony and were made in a busy week which yeilded some four LPs of release material - a remarkable and enthusiastic work rate for any orchestra and conductor! Paray of course excelled in French repertoire, and this is evident throughout this collection.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMercury's sound, once XR-remastered, loses the boxiness of the Franck and over-emphasised mid-range of the rest, and remains good throughout, with superb extension both in the very deep bass (listen to the percussion in the Chabrier) and at the top end, though it is perhaps a little more hissy in the 1955 recordings than the 1953.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eGreat care has been taken in the pitching of the recordings and the elimination or reduction of wow and flutter. The 1953 LP was somewhat sharper than the concert pitch of the 1955 and this too has been fixed.\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\u003cstrong\u003eFRANCK \u003c\/strong\u003eSymphony in D minor\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eTransfer from Mercury MRL 2511 \u003cbr\u003eRecorded 13-20 February 1953 \u003cbr\u003eFirst issued as Mercury MG 50023 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eIBERT \u003c\/strong\u003eEscales (\"Ports of Call\") \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRAVEL \u003c\/strong\u003eRapsodie Espagnole\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCHABRIER \u003c\/strong\u003eEspaña - Rapsodie \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eTransfers from Mercury MG 50056 \u003cbr\u003eRecorded 25 March 1955 \u003cbr\u003eFirst issued as Mercury MG 50056\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eDetroit Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePaul Paray \u003c\/strong\u003econductor \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover artwork based on photographs of Ravel\u003cbr\u003e\u003cbr\u003eTotal duration: 71:07\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\/PASC346.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC346.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eReview \u003cb\u003eFranck Symphony in D minor\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis is a very good performance and recording indeed and there is almost nothing one wants to cavil at. Paray is ideally suited to the work, as one would expect, and in his admirable reading I only question one accelerando in the first movement (after letter L in the score), simply because it is too short a passage and the accelerando seems to lead nowhere: and perhaps the slower wind interpolations in the middle movement (after letter 0) are rather overdone for a pia lento that need only be poco, as marked.\u003cbr\u003e\u003cbr\u003eBut these are the smallest things and any criticism of the recording is on the same scale, for the sound is outstandingly good. But as we swing into the main allegro of the first movement a loud hum hangs for a moment over the strings : and at the start of the middle movement one hears only the top note of each harp chord. (Perhaps this is not a matter of recording but as Paray meant it to sound. I still prefer to hear the chords.)\u003cbr\u003e\u003cbr\u003eI cannot imagine that this record will disappoint anyone, for it is a finely judged performance, recorded with both clarity and warmth. I would put it at the head of all earlier versions. I must just advise the reader, however, that there is one much cheaper disc among those listed above, the 10-inch Philips ABR4048, and it is by no means to be overlooked. Its main defect is a very \" empty hail\" acoustic but that apart, its sound is good and Ormandy directs a sympathetic performance. I do far prefer both Paray and Mercury's sound—but it does cost more.\u003cbr\u003e\u003cbr\u003eT.H. The Gramophone, June 1957\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":34142969933,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34142970061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34142970189,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34142970253,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC346.jpg?v=1489593497"},{"product_id":"pasc346-cd","title":"PARAY conducts Franck, Ibert, Ravel, Chabrier (1953\/55) - PASC346 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478149133,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478149197,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC346_43221262-9f17-4352-8e74-29a90184264d.jpg?v=1658308336"},{"product_id":"pasc368","title":"MUNCH conducts Vaughan Williams, Ravel and d'Indy (1958) - PASC368","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No. 8\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G minor\u003cbr\u003e\u003cb\u003eD'INDY\u003c\/b\u003e Symphony on a French Mountain Air\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded in stereo in 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 76:25\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eCharles Munch\u003cbr\u003eNicole Henriot-Schweitzer\u003c\/b\u003e piano\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI consider this to be a Vaughan Williams Eighth that is the equal of any578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRalph Vaughan Williams was 83 years old when he \ncompleted his Eighth Symphony. It seems like an experiment in \nsonorities, featuring the woodwinds and brass in the second movement, \nthe strings in the third, and a full battery of percussion instruments \nsupporting the orchestra in the finale, which calls for five percussion \nplayers. The score lists parts for side drum, triangle, cymbals, bass \ndrum, vibraphone, xylophone, glockenspiel, tubular bells, and three \ntuned gongs “as used in Puccini’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTurandot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.”\n I’d love to be present at a performance so I could revel in the din of \nthe percussion in the finale. If I have any disappointment with the \nsubsequent recordings (all of which I have owned at one time or other), \nit’s that the percussion section doesn’t make enough of a racket. The \npercussionists in this August 1958 performance from Tanglewood, the \nBoston Symphony Orchestra’s summer home, I am happy to say, are among \nthe louder ones. The score also gives a suggested timing of 26:30. On \nrecordings, one conductor, Leonard Slatkin, brings the piece in close to\n that, at 26:27. John Barbirolli, to whom the symphony is dedicated, \nmanaged a 26:43 timing shortly after the 1956 premiere but several years\n later, had slowed down to 28:57 for a BBC broadcast. Haitink, \nStokowski, and Thomson manage to stretch it out to more than a \nhalf-hour. I am not, however, judging by stopwatch—all of the recordings\n I’ve heard (16, including another Munch performance that is faster than\n this one) are certainly “good” ones and among my particular favorites \nare some of the slower ones, including this charged-up Munch \nperformance. Timing wise, it’s in the middle of the pack, at 28: 19. \nPristine’s notes claim it to be stereophonic but when I listened to it, \nit just sounded like enhanced mono. So I took out my headset and \ndiscovered that Pristine’s stereo claim \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n accurate…but the channels are reversed. I saw many Munch concerts and \nhis preferred seating was violins on his left, cellos and violas on the \nright, the latter on the outside. No wonder I couldn’t get those violins\n into the left channel! Since I can live with the reversed channels, I \nconsider this to be a Vaughan Williams Eighth that is the equal of any. \nTwo oddities: This is the first symphony to which Vaughan Williams \nactually assigned a number; it is also only one of two RVW symphonies \nthat have a loud ending.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSince Pristine must have wanted something else by \nMunch to fill out the CD, the producer came up with two French works for\n piano and orchestra that were recorded by RCA Victor a few months \nbefore the Vaughan Williams performance. The pianist, Nicole \nHenriot-Schweitzer was, I believe, Munch’s niece. She had previously \nrecorded the Ravel Concerto with him leading the Paris Conservatory \nOrchestra for Decca London about a decade earlier and proceeded to \nrecord it with him again with the Orchestra of Paris for EMI. Munch had \nrecorded the d’Indy with Robert Casadesus and the New York Philharmonic \nabout a decade earlier as well. In his annotations, the producer gripes \nabout the sound of the piano but I had no problem with it and the \nbalance between soloist and orchestra is just fine. If these are not \nnecessarily my favorite recordings of the pieces in question \n(Zimerman\/Boulez and Larrocha\/Slatkin in the Ravel—Casadesus\/Ormandy, \nwhich is faster, Johannesen\/Goosens, which is slower, and \nThibaudet\/Dutoit, which is similar, in the d’Indy), they are nothing \nless than first-class renderings of the music and sound marginally \nsuperior to my original RCA Victors. No one would go wrong with them. \nFor what it’s worth, with three recordings of the G Major and three of \nthe Concerto for the Left Hand (with Jacqueline Blancard, Alfred Cortot,\n and Jacques Février), Munch is the all-time leader in recordings of the\n Ravel concertos. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:5 (May\/June 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC368.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eFabulous and unique recording of Vaughan Williams' 8th Symphony by Munch\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003ePlus superb stereo recordings of Ravel and d'Indy, all in new 32-bit Pristine XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cp class=\"body\"\u003eThe restoration and remastering of this release has been particularly fascinating for me. First of all we have what would appear to be the only extant recording of Vaughan Williams' Symphony No. 8 in D minor which features neither a British orchestra nor a British conductor. Indeed we can only trace one other recording of the work, made in the late 1950s with Barbirolli conducting the New York Philharmonic, which was not made with a British orchestra. Previously unreleased, Munch and the Boston Symphony make a superb job in this broadcast recording from the Berkshire Festival at Tanglewood - some may even find this the finest recording this symphony has ever had; it's certainly how it was introduced to me.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWe opted to couple the Vaughan Williams with the commercial Ravel and d'Indy recording partly because of the links between the two French composers and Vaughan Williams. Seeking advice over orchestration, he was advised early in his career to study with both Frenchmen, and indeed did spend time working under Ravel in 1908, who described Vaughan Williams as the only one of his pupils who didn't write music like his own.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe discs used for these transfers are contemporary audiophile pressings on the Classic Records label, remastered from the original RCA Victor master tapes and pressed onto 200g single-sided vinyl at 45rpm for maximum fidelity. Despite some unexpected technical difficulties experienced with the discs themselves (all easily resolved in the restoration process), the sound quality is indeed superb here. Further impressions of these discs can be found in our newsletters of 16 and 23 November 2012, archived\u003ca href=\"http:\/\/www.pristineclassical.com\/More\/Newsletters.html\" target=\"_blank\"\u003ehere\u003c\/a\u003e at the Pristine Classical website.\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\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eVAUGHAN WILLIAMS\u003c\/strong\u003e Symphony No. 8 in D minor\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 2 August 1958, live at the Music Shed, Tanglewood, a Berkshire Festival Concert\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e \u003c\/strong\u003ePiano Concerto in G 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\u003eD'INDY \u003c\/strong\u003e\u003c\/strong\u003eSymphony on a French Mountain Air \u003ci\u003e\u003cem\u003e(Symphonie sur un Chant Montagnard Français\u003c\/em\u003e)\u003c\/i\u003e, Op.25\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNicole Henriot-Schweitzer \u003c\/strong\u003epiano\u003c\/span\u003e\u003cbr\u003eRecorded 28 March 1958 \u003cbr\u003eIssued as RCA LSC-2271 \u003cbr\u003eTransfers from Classic Records LSC-2271-45\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBoston Symphony Orchestra\u003cbr\u003eCharles Munch\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, November 2012\u003cbr\u003eCover artwork based on a photograph of Charles Munch\u003cbr\u003e\u003cbr\u003eTotal duration: 76:25\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\/PASC368.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC368.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW d'Indy Symphony \u003c\/strong\u003e(1995 reissue)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eNicole\n Henriot-Schweitzer in the d'Indy has the handicap of a tap-room piano, \nbut the poise, delicacy and spirit of her playing shine through (her \u003cem\u003esubito\u003c\/em\u003e and sustained \u003cem\u003epp\u003c\/em\u003e from\n 4'36\" in the first movement, is, like much else here, utterly \nenchanting). Munch takes a fresher view of the score than many \nlatter-day interpreters, and judges to perfection the difficult tempo \nrelationships in the central \u003cem\u003eAssez modéré\u003c\/em\u003e. Had not Dutoit (with\n Jean-Yves Thibaudet) come up trumps with a recent account of the d'indy\n that must be one of the finest things he has done in Montreal \n(full-price coupled with the Franck Symphony), this Boston account would\n be a clear first choice.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eJ.S., Gramophone\u003c\/strong\u003e, May 1995\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":29977295192125,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":29977295224893,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":29977295257661,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC368_4eb67eda-00d3-4034-bf68-8809275abb73.jpg?v=1568380901"},{"product_id":"pasc368-cd","title":"MUNCH conducts Vaughan Williams, Ravel and d'Indy (1958) - PASC368 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":29977295650877,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":29977295683645,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC368_8cdc7410-5a6b-46cf-a32f-e8c94174f07f.jpg?v=1658308910"},{"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":"pasc395","title":"WALTER DAMROSCH conducts Gluck, Saint-Saëns, Ravel (1927\/30) - PASC395","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGLUCK \u003c\/b\u003eAirs de Ballet\u003cbr\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Ballet Divertissement from Henry VIII\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003eMother Goose – Suite\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eMusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBach, Fauré, Moszkowski, Pierné, Beethoven\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio Recordings · 1927 and 1930\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 71:54\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWalter Damrosch, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eNational Symphony Orchestra\u003cbr\u003eNew York Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a beast that makes an impression. I love it. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eA couple of issues ago I quoted extensively from \n“Geniuses, Goddesses, and People,” by Winthrop Sargeant, a former \nviolinist in the New York Symphony Orchestra and, later, the New York \nPhilharmonic. The book contains his tongue-in-cheek descriptions of \nWillem Mengelberg’s rehearsal technique. Having given him his say about \nMengelberg, I may as well use the occasion of this review to give him \nhis say about Walter Damrosch, who led the New York Symphony Orchestra \nuntil its 1928 demise. We begin in a Paris hotel suite where Sargeant, \nan aspiring composer who also played the violin and French horn, is \nabout to audition for Damrosch, hoping for a position in the New York \nSymphony Orchestra: “I really needed the job and, in order to make the \nbest possible impression, I decided to attack him on three fronts. I \nwould play the violin for him. I would then play the horn, to show what a\n useful fellow I could be around a symphony orchestra; and then I would \nshow him one of my compositions, to demonstrate, if not my talent, at \nleast my general musicianship. To load the dice still further in my \nfavor, I picked the César Franck Violin Sonata to play, knowing that he \nwould accompany me and that it had a very difficult piano part which \nwould probably keep his mind, to some extent, off my fiddle-playing. \nDamrosch greeted me with senatorial calm, sat down at the piano, didn’t \neven open the music to the sonata but proceeded to accompany me entirely\n from memory. He listened to my reasonably accurate tooting on the horn,\n gave a patrician nod and turned to my composition. It was a dreadful \ncomposition, showing little evidence of talent, and written in all the \nextreme dissonant idioms that were popular among “advanced” composers of\n the 1920s. The only impressive thing about it was its sheer complexity.\n It was scored for an oversize symphony orchestra, and its parts—from \npiccolo to double bass—were spread over a formidable conductor’s score \nsome forty lines deep. It was, in fact, so complicated that I had been \ncertain until that moment that even a conductor of Damrosch’s ability \nwould scarcely be able to make head or tail of it without laboriously \ntaking it apart and studying it line by line. I felt reassured because I\n knew there wouldn’t be time to do that, and I thought he might be \nsuperficially impressed by the mere quantity of notes it contained. \nDamrosch picked up the score, looked at it absently for a few minutes, \nand took it over to the piano. Then, to my amazement, he proceeded to \nplay the whole thing as if it were a simple piece of piano music, \ngetting all my abstruse and complex dissonances exactly right and even \nadding an interpretive flourish or two that gave the piece a sense of \nform and climax. It was a tremendous feat of musicianship. Later on I \nshall have something to say about Damrosch as a conductor. Owing to \ncertain peculiar limitations he was not a great one. But among the great\n ones, I have never met one who had a more penetrating knowledge of the \ntechnical side of music....”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“Walter Damrosch belonged to an era in American \nmusical life that is now extinct. Its protagonists were people like his \nfather Leopold and the great Middle Western symphonic pioneer, Theodore \nThomas. It was an era of rough-and-ready performances, when personality \nwas more important than technique and when the sheer glamor of a \nhundred-man orchestra outweighed the finer details of its symphonic \nworkmanship. A modern metropolitan audience would swoon at what we \nsometimes offered as performances. It was not unusual for a whole \nsection to get lost in the middle of a composition, adroitly fake its \nway through a mass of musical confusion, and find itself again in time \nto bring down the symphonic curtain with a well-chosen final chord. This\n was particularly apt to happen in the case of unfamiliar and dissonant \n‘modern music.’ Since the music was dissonant anyhow, a few extra \nimpromptu dissonances didn’t seem to matter much. The audience, in any \ncase, seldom noticed the discrepancies and undoubtedly attributed the \nstrange sense of harmonic confusion to the progress of the technique of \nmodern composition. Damrosch performed an enormous amount of ‘modern \nmusic’—first performances of new works by composers like Hindemith, \nSchoenberg, Honegger and Stravinsky….”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“Damrosch had two qualities which ideally suited \nhim for this missionary work: an absolute imperturbability—if the \ntheater blew up it could be confidently predicted that he would be found\n somewhere in the wreckage calmly waving his baton—and an uncanny \nability to handle audiences. He would often stop the concert to make \nspeeches—and in a senatorial, fatherly way he was an admirable speaker. \nConsidered strictly as a conductor, he was a curious case. His knowledge\n of music was extraordinary. He knew more scores, and knew them better, \nthan many a far more polished and technically adroit maestro. He was a \ncomposer of some distinction, and an excellent pianist. But in the \npeculiar art of conveying musical ideas by means of gesture—an art that \nconstitutes the conductor’s most fundamental gift—he was without any \ntrace of talent whatsoever. His baton would swing automatically—down, \nleft, right, and up again—like the mechanical pendulum of a grandfather \nclock, indicating nothing whatever of the passion or excitement which he\n undoubtedly felt as a musician. The only thing that could be said for \nDamrosch’s “beat” was that it was perfectly clear. Even the New York \nSymphony found it difficult to get lost with that relentless, foursquare\n gesture patiently ticking off the measures of the music.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn addition to its interesting contents, this CD \nhas a sample of Damrosch’s ability as a lecturer, trying to bring the \nslow movement of Beethoven’s “Eroica” to life for an unseen (in this \ncase) audience. I assume that the Gluck \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAirs de Ballet \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n is a concoction of his own, which works quite well with what sounds \nlike a smallish orchestra. I am puzzled about the final dance, a \nchaconne that is supposedly from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIphigenia in Aulis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. I suppose Gluck could have used it there but I associate it with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOrfeo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e ballet music. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHenry VIII\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n dances are a divertissement that concludes the second act of \nSaint-Saëns’s opera. I’m surprised that it doesn’t get recorded more. \nDamrosch includes five of the seven dances. Jacques d’Amboise once made a\n very agreeable ballet called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIrish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n using this music—I wish the New York City Ballet would revive it \nsometime. The three short pieces by Fauré, Pierné, and Moszkowski would \nbenefit from less “boxy” sound. The Moszkowski is an interesting \ndiscovery that should please any purchasers of this disc. The strangest \nand most intriguing performance on the CD is that of Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMother Goose Suite.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n The use of a small-sized body of players and the fairly close miking \ndon’t just give the performance an appropriate intimacy, they also \nexpose hitherto seldom-noticed and fascinating details of orchestration \nthat poke through the thin sonority. Damrosch leads the slowest \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePavane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and “Petit Poucet” I have ever heard and he’s in no hurry in “The \nConversations of Beauty and the Beast.” Given a contrabassoon that \nalmost snarls like a serpent (the instrument, not the reptile), this is a\n beast that makes an impression. I love it. Happily, Damrosch \nacknowledges the sentiment of the music and the sheer exposure of detail\n is a delight. You may draw your own conclusions about his “foursquare \nbeat.” Incidentally, the “National Symphony Orchestra” is not the one in\n Washington that Hans Kindler founded but, rather, an ancestor of the \nNBC Symphony Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\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 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC395.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eWalter Damrosch conducts Gluck, Saint-Saëns, Ravel and more\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eThe great musical communicator in fine new transfers by Mark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eFor seven decades, Walter Damrosch (1862 – 1950) occupied a singular place in the American musical scene as conductor, composer and commentator. The son of conductor Leopold Damrosch, he emigrated from Germany with his family to America in 1871. Beginning his career at the age of 19, he returned to Germany for a period to study under Hans von Bülow, and became an assistant conductor for the fledgling Metropolitan Opera in New York in 1884. The following year, he led the first (non-staged) American performance of \u003cem\u003eParsifal\u003c\/em\u003e only three years after its première, and succeeded his father as music director of the New York Symphony Orchestra.\u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eIt was with that ensemble that Damrosch began his recording career in 1903 for Columbia, setting down the first record made by an American orchestra under its own music director. He recorded only sporadically, returning to Columbia for another series with the NYSO in the 1920s. The selections here comprise his complete electrical recordings save for a 1928 Brahms Second Symphony. On them, we hear well-disciplined (for their time) ensembles, which use string portamento surprisingly sparingly. We also hear a conductor who can bring out both the colorful excitement of the Saint-Saëns and also the heartfelt tenderness of the Ravel (and sometimes both at once, as in the final movement of the Gluck).\u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eThe Beethoven lecture brings up another important aspect of Damrosch’s career, that of popularizer\/explainer of Classical music to the masses. David Sarnoff appointed Damrosch to be the music director for NBC; (indeed, the National Symphony Orchestra which performs here is not the ensemble created in 1931 in Washington, DC, but rather the National Broadcasting Company’s house orchestra, a forerunner of the NBC Symphony). From 1928 to 1942, Damrosch hosted the \u003cem\u003eMusic Appreciation Hour\u003c\/em\u003e radio program, broadcast weekdays for use in school classrooms, through which a generation of students was exposed to Classical music. While the type of “analysis” Damrosch presented, which envisions the \u003cem\u003eEroica\u003c\/em\u003e Funeral March as highly-detailed program music, may strike modern listeners as, at best, naïve, it provided a convenient entry point for neophytes.\u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eThe sources for the present transfers were pre-war Victor “Gold” label pressings for all of the National Symphony recordings except for the first two sides of the Saint-Saëns, which came from a late Orthophonic disc; American Columbia “Viva-Tonal” editions for the Beethoven talk, the Pierné and the last movement of the Ravel; and Columbia “Full-Range” label pressings for the remainder of the Ravel. The Bach and Moszkowski sides were apparently only issued in inferior-sounding dubbed editions.\u003c\/p\u003e\u003cem\u003e\u003c\/em\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\u003eMark Obert-Thorn\u003cbr\u003e\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 class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eGLUCK (arr. Gevaert): Airs de Ballet\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e1 - Air from \u003cem\u003eIphigenia in Aulis\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e2 - Slaves’ Dance from \u003cem\u003eIphigenia in Aulis\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e3 - Tambourin from \u003cem\u003eIphigenia in Aulis\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e4 - Gavotte from \u003cem\u003eArmide\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e5 - Chaconne from \u003cem\u003eIphigenia in Aulis\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 May 1930 in Liederkranz Hall, New York City\u003cbr\u003eMatrix nos.: CVE 59788-1, 59789-3 and 59790-1\u003cbr\u003eFirst issued on Victor 7321 and 7322\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong class=\"western\" style=\"margin-bottom: 0cm;\"\u003e6 - BACH (arr. Leopold Damrosch): Gavotte in D (from Sonata No. 6 for Solo Cello)\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 20 May 1930 in Liederkranz Hall, New York City\u003cbr\u003eMatrix no.: CVE 59797-3R\u003cbr\u003eFirst issued on Victor 7322\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eSAINT-SAËNS: Ballet Divertissement from \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eHenry VIII\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e7 Introduction and Entrance of the Clans\u003c\/li\u003e\n\u003cli\u003e8 Scotch Idyl\u003c\/li\u003e\n\u003cli\u003e9 Dance of the Gypsy\u003c\/li\u003e\n\u003cli\u003e10 Jig and Finale\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 16 and 20 May 1930 in Liederkranz Hall, New York City\u003cbr\u003eMatrix nos.: CVE 59793-2, 59794-2, 59795-1 and 59799-3\u003cbr\u003eFirst issued on Victor 7292 and 7293\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e11 \u003cstrong\u003e- FAURÉ: Pavane, Op. 50\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 18 September 1930 in Liederkranz Hall, New York City\u003cbr\u003eMatrix no.: CVE 63663-3\u003cbr\u003eFirst issued on Victor 7323\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e12 \u003cstrong\u003e- MOSZKOWSKI: Perpetual Motion (from Suite No. 1, Op. 39)\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 20 May 1930 in Liederkranz Hall, New York City\u003cbr\u003eMatrix no.: CVE 59798-2R\u003cbr\u003eFirst issued on Victor 7323\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e13 - \u003cstrong\u003ePIERNÉ: Entrance of the Little Fauns (from \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eCydalise et le Chêvre-Pied\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e)\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 9 June 1927 in New York City\u003cbr\u003eMatrix no.: W 98367-2\u003cbr\u003eFirst issued on Columbia 67345-D in Set 74\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eRAVEL: \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eMother Goose\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e – Suite\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e14 - Pavane of the Sleeping Beauty (1:57)\u003c\/li\u003e\n\u003cli\u003e15 - Hop o’ My Thumb (4:55)\u003c\/li\u003e\n\u003cli\u003e16 - Laideronette, Empress of the Pagodas (3:36)\u003c\/li\u003e\n\u003cli\u003e17 - Conversations of Beauty and the Beast (4:07)\u003c\/li\u003e\n\u003cli\u003e18 - The Fairy Garden (3:38)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 and 9 June 1927 in New York City\u003cbr\u003eMatrix nos.: W 98363-2, 98364-3, 98365-2, 98366-3 and 98368-2\u003cbr\u003eFirst issued on Columbia 67343-D through 67345-D in Set 74\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e19 \u003cstrong\u003e- Funeral March from Beethoven’s Symphony No. 3 (Eroica) explained at the piano by Walter Damrosch\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 8 February 1927 in New York City\u003cbr\u003eMatrix nos.: W 98313-1 and 98314-3\u003cbr\u003eFirst issued on Columbia 7122-M\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eNational Symphony Orchestra\u003c\/strong\u003e (Tracks 1 – 12)\u003cstrong\u003e\u003cbr\u003eNew York Symphony Orchestra\u003c\/strong\u003e (Tracks 13 – 18)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eWalter Damrosch (conductor)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and audio restoration engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Walter Damrosch\u003cbr\u003e\u003cbr\u003eTotal duration: 71:54\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\/PASC395.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC395.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":34278031949,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34278032013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC395.jpg?v=1489766713"},{"product_id":"pasc395-cd","title":"WALTER DAMROSCH conducts Gluck, Saint-Saëns, Ravel (1927\/30) - PASC395 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478182925,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478182989,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC395_1254ed6b-f3d8-4b9c-9d99-1ae258b29744.jpg?v=1658309579"},{"product_id":"pasc219-cd","title":"MONTEUX The Early Recordings (1929\/30) - PASC219 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478198029,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478198093,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC219_763bc966-19e6-47fc-a0ea-65ac25efdf44.jpg?v=1658244160"},{"product_id":"pasc219","title":"MONTEUX The Early Recordings (1929\/30) - PASC219","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eLe sacre du printemps\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eLe petit poucet (Ma mère l’oye)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCOPPOLA \u003c\/b\u003eInterlude dramatique\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCHABRIER \u003c\/b\u003eFête Polonaise ( Le Roi malgré lui)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eLa valse\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1929 and 1930\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 62:27 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eOrchestre Symphonique de Paris\u003cbr\u003ePierre Monteux, \u003c\/b\u003econductor \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRecalling the first time he heard \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre du printemps\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e when Stravinsky played it for him on the piano, Pierre Monteux admitted, “I must admit I did not understand one note of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre du printemps\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n My one desire was to flee that room and find a quiet corner in which to\n rest my aching head.” Given the initial reaction of the conductor who \neventually led the premiere, is it surprising that many in the \nfirst-night audience found the piece baffling? One of the players in \nDiaghilev’s orchestra said he believed that some of the hostility was \ndirected at Nijinsky’s choreography, which seems to have resembled \ncalisthenics more than dancing. In any event, while Monteux was resting \nhis “aching head,” Diaghilev turned to him and said, “This is a \nmasterpiece, Monteux, which will completely revolutionize music and make\n you famous because you are going to conduct it.” In fact, Monteux ended\n up making suggestions about altering some of the orchestration, which \nStravinsky followed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eObviously, a recording, even if made nearly 16 \nyears later, by the conductor who led the premiere has an obvious \ninterest. Fortunately, we need not be satisfied with the dim sound of \nthis 1929 effort, since Monteux went on to record the music three more \ntimes and there are many “unofficial” recordings as well since Monteux, \nlike it or not, could not escape his association with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre du printemps\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n in a way, Diaghilev was right. Obviously, it would be unfair to compare\n this pioneering effort with his later ones; what I did was measure it \nagainst Stravinsky’s first recording of the piece, made five months \nlater with the Straram Orchestra (billed, for contractual reasons, as \n“symphony orchestra”). Given the absence of dancers, I wonder if the \n1913 performance went at this tempo. I do not mean to suggest that this a\n particularly fast performance since it isn’t, but recordings suggest \nthat experienced ballet conductors often have a tendency to speed up \nwhen freed from the needs of the choreographer and his dancers.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn part 1, the original 78 surfaces are noisy but \none adjusts to it. The winds are dimmer than usual and more distant. I \nsuggest that listeners turn up the volume to enhance the experience. The\n timpani are muffled though clearer than they are on Stravinsky’s \nrecording. In fact, this is the better of the two recordings in every \nway, for Monteux is obviously the more proficient conductor and has been\n more fortunate in his technical team. Nevertheless, the recording \nexposes or emphasizes some odd details that one may not have noticed in \n“better” recordings and the 78s used for part 2 seem to have had better \nsurfaces. Monteux starts part 2 at a slower tempo than Stravinsky, \nobtaining a more mysterious atmosphere, but tempowise, there are not \nradical differences between him and the composer. I don’t regularly deal\n with Stravinsky’s music here, though I have been acquainted with it for\n years, so I’ll use this review to point out that, if I were looking for\n a “modern” recording, I would not choose one by Monteux or Stravinsky, \nthough both have given us perfectly good ones. My choices would be Igor \nMarkevitch’s mono and stereo recordings with the Philharmonia Orchestra \n(coupled on Testament), Markevitch’s with the London Symphony Orchestra,\n James Levine and the Met Orchestra, and Antal Doráti’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emono\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recording with the Minneapolis Symphony. That last one has, \nfortunately, been issued under “pirate” auspices and is well worth \ninvestigating.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMaybe better copies of the other pieces on the CD \nwere available, for what one hears on the rest of the CD is what one has\n come to expect from the best modern transfers—amazingly vivid sound, in\n this case, from 78s recorded in 1930. Monteux was the first conductor \nto record the entire \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMother Goose\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n ballet with the pieces in the correct order, including the interludes \nbetween them. It might have been interesting to hear how he would have \ndone it in 1930 but all we have here is one movement, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetite Poucet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with the solo winds close and clear. The fact that Piero Coppola was an\n A \u0026amp; R man as well as a conductor and composer may have had a lot to\n do with Monteux’s recording of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDramatic Interlude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a motor-driven piece in which Coppola demonstrates his mastery of the \nlanguage of the great Hollywood composers of the ’30s and ’40s. It’s no \ntrial to listen to and you might even come back for more if your tastes \nlie that way. The Chabrier is a vigorous, lilting performance—quite \nwonderful, though I wonder if its liveliness had anything to do with the\n length of the 78 sides. One might have similar questions about \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which zips along pretty fast as well, but it’s actually similar to his \nlater ones and speed does not preclude rhythmic flexibility (with \nMonteux, it never did). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:1 (Sept\/Oct 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC219.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eRare early recordings, including a complete 1929 Rite of Spring\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePierre Monteux \"bracing\" in Stravinsky, Ravel, Chabrier and Coppola\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003ePierre Monteux’ early recordings fall into three general categories: the Berlioz discs, including a complete Symphonie Fantastique; the three concerto recordings with Menuhin; and the rest, which are presented here. While the Menuhin recordings have rarely been out of print in one form or another since they first appeared and the Berlioz records have seen at least two CD reissues during the 1990s, the remainder have proven rather hard to come by. I am aware of only one previous CD reissue of the Stravinsky, Coppola and Chabrier items, and none at all of the two Ravel works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003ePart of the reason for this may have been due to the rarity of the original discs. Unlike the Menuhin recordings, which saw release throughout the world, or the Berlioz records which came out in America, the other recordings were only issued in France. Adding to their rarity are the difficulties involved in their transfer. None of them were released on particularly quiet shellac, and much of the original engineering was not state-of-the-art for the time. The volume levels of several of the recordings were adjusted downward as the recordings went along, requiring compensating increases on the part of the restoration engineer; and the recorded sound is sometimes rather raw and harsh.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMost problematic of all is Monteux’ first recording, the Stravinsky. Four of the eight sides were only issued as sonically-compromised “dubbings”. These were re-recordings made from the original metal discs or shellac pressings in order to decrease volume levels so that the discs would pass the “wear test”, particularly needed for the many loud passages in this work. Being copies of copies, dubbings had inherently inferior sound. They also had similar volume decrease problems, which I have attempted to mitigate by matching the dynamic extremes against Monteux’ 1956 Decca recording with the Paris Conservatoire Orchestra.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eNotwithstanding their many faults, these are bracing performances. It is a particular shame that La Valse and Sacre did not see the international release that the contemporaneous recordings by Koussevitzky and Stokowski had in the Victor\/HMV family of labels, because in both scores Monteux proves more vital than the other conductors’ comparatively restrained accounts. La Valse in particular has a wealth of characterful detail in the wind playing, coupled with an inexorable momentum that carries through to a shattering conclusion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\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\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e: Le sacre du printemps\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 23rd – 25th January, 1929 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos: CS 3172-1T1, 3175-1, 3176-1T1, 3177-2, 3178-2, 3186-1T1, 3173-2T1, and 3174-3\u003cbr\u003e First issued on Disque Gramophone W-1008 through 1011\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e: Le petit poucet (Ma mère l’oye) \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 3rd February, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix no.: CF 2842-2\u003cbr\u003e First issued on Disque Gramophone W-1108\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCOPPOLA\u003c\/strong\u003e: Interlude dramatique \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 3rd February, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos.: CF 2849-2 and 2850-1\u003cbr\u003e First issued on Disque Gramophone W-1108\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCHABRIER: \u003c\/strong\u003eFête Polonaise ( Le Roi malgré lui) \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 29th January, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos.: CF 2818-2 and 2819-1\u003cbr\u003e First issued on Disque Gramophone L-796\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRAVEL: \u003c\/strong\u003eLa valse \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 31st January, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos.: CF 2839-3, 2840-1 and 2841-2\u003cbr\u003e First issued on Disque Gramophone W-1107 and 1108\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003ePierre Monteux · Orchestre Symphonique de Paris\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Pierre Monteux\u003cbr\u003e\u003cbr\u003eTotal duration: 62:27 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC219.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC219.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":34438260813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34438260877,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC219_bf47e5df-0665-4ec5-9190-fe8a3dad7a8c.jpg?v=1490019835"},{"product_id":"pasc240","title":"PARAY conducts French Music (1953) - PASC240","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eLa Valse\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFAURÉ \u003c\/b\u003ePavane\u003cspan style=\"font-size: 16px;\"\u003e, \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003ePelléas and Mélisande\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003ePsyche (excerpts)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDUKAS \u003c\/b\u003eThe Sorcerer's Apprentice\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eROUSSEL \u003c\/b\u003eThe Spider's Feast\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded December 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 74:04\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eThe Detroit Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Paul Paray\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn 1999, I took a trip to Detroit. While my \npurpose was to experience a game at Tiger Stadium before it was too \nlate, I also made a sort of pilgrimage to the recording venues used by \nthe Detroit Symphony Orchestra when it recorded for Mercury. If I could \nhave found it, I would have looked at the United Artists Theater, where \nAntal Doráti’s London recordings were made. Parking problems and the \nlikelihood that I couldn’t get in, anyway, discouraged me from doing \nanything more than a drive-by look, but I saw the Masonic Temple, the \nFord Auditorium, Cass Technical High School, and, finally, the DSO’s \npresent home, Orchestra Hall, built in 1918, abandoned in 1939 when the \norchestra lost its lease, and eventually saved by determined citizens \nafter the city condemned it. Wilma Cozart, who was involved in the \nproduction of Mercury’s Detroit recordings, told me that when Mercury \nmoved its activities there after the Ford Auditorium proved to be \nunsatisfactory, she could see the sky through a hole in the roof! Once \nthe building had been condemned, Mercury made Paul Paray’s final batch \nof recordings at the auditorium of Cass Technical High School.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAlthough the annotations claim that some folks \ntouted the DSO as the world’s greatest “French” orchestra during Paul \nParay’s tenure, it didn’t sound particularly French to me—more like a \nvery good American orchestra, which it was and is. Paray, it is true, \nrecorded a lot of French music, but he also made perfectly good \nrecordings of music by, among others, Beethoven, Brahms, Schumann, and \nWagner. During one of the early sessions, a take was ruined by a \nmysterious tapping sound. Mercury’s team eventually discovered that the \nproblem was that the conductor was tapping his feet in time to the \nmusic. From then on, Paray wore slippers while recording!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith one exception, all the pieces on this CD were recorded only monaurally; the one that was redone in stereo was \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Valse. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eThis\n is the mono version. Paray’s energetic, vigorous approach to the music \nsuggests that he doesn’t see the piece as an allusion to the collapse of\n decadent European civilization (which is a possible way of interpreting\n it) but a brilliantly orchestrated showpiece for a virtuoso orchestra \nand conductor (the way most conductors seem to interpret it). It \nobviously gave Mercury’s team an opportunity to show off its technique, \ntoo. Given technical competence, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e cannot fail in concert.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt’s pretty hard to ruin the melancholy but stately Fauré \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePavane,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n too. Fauré wrote the piece for orchestra and chorus but specified that \nthe vocal parts could be eliminated, an option that I suspect most \nconductors exercise, as does Paray, who does not dawdle over it.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eParay’s performance of three of the orchestral sections of Franck’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePsyché \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eshows\n a (to me) gentler side to the conductor, who struck me as more drawn to\n energy and power in his performances. The orchestra’s strings sing here\n and Paray seems to have considerable affection for what must be \nFranck’s most sensuous music. Unfortunately, he didn’t have enough \naffection to include the movement called “The Garden of Eros,” or \nperhaps it was believed that there wasn’t enough space on the LP. I \nmight point out, though, that Eduard van Beinum’s more-or-less \ncontemporaneous recording includes all four movements on one side of an \nLP; it’s also a lovely performance and has a richer sonority than \nParay’s.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eParay seems to relish \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sorcerer’s Apprentice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n but more for its possibilities as an orchestral showpiece than its \nquirkiness, and on that level the performance is certainly a success. \nThe clear, powerful recording helps, too. Paray’s approach to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePelléas and Mélisande\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e excerpts is refined and, mainly, unsentimental. The symphonic fragments from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Spider’s Feast\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are right up his alley (a pity he didn’t record the complete score), \ngiving the music an edge that it sometimes lacks in other performances. I\n wonder what he might have done with the symphonies. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC240.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003e\"Paray is heard at his best in French music...\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eSix excellent Mercury Living Presence recordings, newly remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAlthough these two recordings were made very close together in the month of December, 1953, one suspects that someone involved in the second sessions might have been suffering from a little too much post-Christmas cheer. Sonically there was little to question of the first album, consisting of the Ravel, first Fauré and Franck and recorded on the 7th December; XR remastering brought a few minor tweaks to the sound which helped make it a little more realistic than one often hears from Mercury recordings of this era.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever the second album here, the Dukas, second Fauré and Roussel, recorded between 26th and 28th December 1953 was an entirely different matter. Despite another excellent transfer of a near-mint LP original, the sound of the orchestra was quite bizarre, and it's hard to believe nobody noticed this at the time. Of course with modern computer tonal analysis, as carried out with all XR remasters, it's easy to see precisely what the problem is - a graph showing the average tonal spectrum of the entire album indicates a deep trough at just above 1kHz followed by a very unnatural lift centred around 3.4kHz. There were other oddities as well, but these two were the main culprits, and it suggests that someone in the recording or mastering chain someone did something very unusual with the tone controls.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFortunately once the problems have been analysed it is a relatively straightforward issue to correct, and the second half of this release now sounds as it should have done 57 years earlier. It is astonishing to modern ears that The Gramophone's reviewer of the British release of this album made no mention of its sonic shortcomings! Suffice to day that both recordings, brought together for the first time on a single issue here, now sound marvellous indeed\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\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e La Valse\u003cbr\u003e\u003cstrong\u003eFAURE \u003c\/strong\u003ePavane\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eFRANCK\u003c\/strong\u003e Psyche (Orchestral excerpts) \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 7th December 1953\u003cbr\u003e Issued as Mercury LP MG 50029\u003cbr\u003e NB. These were Paray's only recordings of the Fauré and Franck works - the Ravel was re-recorded later in stereo \u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDUKAS\u003c\/strong\u003e The Sorcerer's Apprentice\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eFAURE \u003c\/strong\u003ePelléas and Mélisande (Incidental music) \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eROUSSEL\u003c\/strong\u003e The Spider's Feast (Symphonic fragments)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 26th-28th December 1953\u003cbr\u003e Issued as Mercury LP MG 50035\u003cbr\u003e NB. These were Paray's only recordings of the Dukas, Fauré and Roussel works \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003eThe Detroit Symphony Orchestra\u003cbr\u003e \u003c\/strong\u003econducted by \u003cstrong\u003ePaul Paray\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eTransfers by Edward Johnson from his private collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, August 2010\u003cbr\u003eCover artwork based on a photograph of Paul Paray\u003cbr\u003e\u003cbr\u003eTotal duration: 74:04\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\/PASC240.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC240.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":34500821581,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34500821645,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34500821709,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34500821773,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC240.jpg?v=1490095473"},{"product_id":"pasc240-cd","title":"PARAY conducts French Music (1953) - PASC240 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478217997,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478218061,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC240_dc06feb0-b910-46ff-98a6-73ff51bd7a07.jpg?v=1658244951"},{"product_id":"pasc269","title":"CANTELLI The 1952 Philharmonia Recordings - PASC269","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePavane pour une Infante Défunte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eLa Gazza Ladra - Overture\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, London, 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 58:13 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStunning combination of aristocratic finesse, urbanity, and controlled excitement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis seems like a curious choice for Pristine, as \nthese classic 1952 recordings have long been available on Testament, in \nfine remasterings from the EMI master tapes. The sources used here are \nrare reel-to-reel tapes; their sound lacks the richness and impact of \nTestament’s, but is attractive in its own way, open and bright.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eCantelli’s “Pathétique” is a well-known quantity \nthat probably does not require much comment at this stage, but it was \ninteresting to revisit the performance, not having heard it for several \nyears. I find it curiously elusive—objective, phenomenally articulate, \nquite stellar in the polish and precision of the playing, but with a \nquality of monumental freeze-dried perfection that can seem rather \nalienating. Cantelli has an extreme aversion to tempo modification, even\n those explicitly called for in the score. In the first movement, the \nmain theme and development are spacious and unhurried; the second theme \ncool, brisk, and straight, with scant regard for Tchaikovsky’s myriad \nnotated tempo inflections. The Allegro con grazia is straitlaced, with \nlittle charm; the scherzo-march deliberate (9:16), articulated and \nbalanced with phenomenal clarity. The finale is beautifully played, \nrising to great heights of intensity in the reprise of the main theme, \nbut the second theme again exhibits that curiously straitlaced \nreluctance to observe the notated tempo fluctuations.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eComparing with other famous 1950s studio versions \nwith the same orchestra and label—Karajan (1955–56), Kempe (1957), \nSilvestri (1959), Giulini (1959)—all of these, in their different ways, \nseem more attuned to the music’s humanity. The oft-repeated likening of \nCantelli to Toscanini has always seemed off the mark to me (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epace\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the old maestro’s own comments)—certainly there is little resemblance \nto that conductor’s volatile, spontaneous, flexible conception of this \nwork, which sings and dances in a way the young Italian’s never does. \nInterestingly, a live NBC version from 1953 (also available on Pristine)\n is, if anything, even more tightly controlled.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRavel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePavane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n gets ultra-refined treatment, though here Testament’s transfer is \ngreatly preferable to Pristine’s edgy, crumbly sound. For my money, the \nRossini is the best thing here, in its stunning combination of \naristocratic finesse, urbanity (those solo winds in the \nintroduction—sheer perfection!), and controlled excitement. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC269.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eAll of Cantelli's 1952 Philharmonia recordings XR remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFeaturing his superb 'Pathétique' - \"recommended...splendid\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe recordings here, all of which were generously lent by Keith Bennett for the purposes of this release, were drawn largely from a rare and unusually high quality source. During the 1950s, His Master's Voice recordings could be purchased on disc, normally both 78rpm shellac and, from 1952 onwards, on the quickly popular 33rpm vinyl format.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, they also ran a short series of \"High Fidelity Tape Recording\" issues, the \"HTA\" series, and at the time the highest-priced issue format the company offered. Each tape consisted of a 7-inch spool of 1\/4 inch EMITAPE with two mono tracks, one on each side, running at 7.5 inches per second. A printed paper inlay contained the sleevenotes, and a small slip which referenced the Batch Number was hand-initialled by the tape operator, an inspector and a packer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDespite their undoubted high fidelity, especially when replayed as here on a modern, broadcast-standard Studer tape recorder, these tapes failed to attract much public attention at the time, quite possibly as a result of their exorbitant cost. It has to be said that they have been a pleasure to work from - offering the highest quality of any domestic medium I've encountered from the era.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv id=\"notes\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e \u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\u003ctable style=\"width: 100%;\" cellspacing=\"1\" cellpadding=\"5\" bgcolor=\"#FFFFCC\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr bgcolor=\"#EBEBEB\"\u003e\n\u003ctd width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr bgcolor=\"#EBEBEB\"\u003e\n\u003ctd class=\"body\" valign=\"middle\" bgcolor=\"#FFFFFF\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"top\" bgcolor=\"#EBEBEB\"\u003e\n\u003ctd class=\"body\" valign=\"middle\" bgcolor=\"#FFFFFF\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"51%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"top\"\u003e\n\u003ctd class=\"body\" bgcolor=\"#FFFFFF\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd bgcolor=\"#EBEBEB\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"top\" bgcolor=\"#EBEBEB\"\u003e\n\u003ctd class=\"body\" valign=\"middle\" bgcolor=\"#FFFFFF\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\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\u003eTCHAIKOVSKY \u003c\/b\u003e Symphony No. 6 in B minor, 'Pathétique', Op. 74 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 24, 28 \u0026amp; 30 October, 1952, Royal Festival Hall, London\u003cbr\u003e Transfer from HMV open reel tape HTA 3 \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003e Pavane pour une Infante Défunte \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 24 \u0026amp; 25 October, 1952, Royal Festival Hall, London\u003cbr\u003e Transfer from HMV open reel tape HTA 23 \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e La Gazza Ladra - Overture \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 22 October, 1952, Royal Festival Hall, London\u003cbr\u003e Recording from the Keith Bennett collection\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Philharmonia Orchestra\u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Guido Cantelli\u003c\/b\u003e\u003c\/span\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 Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 58:13 \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\/PASC269.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC269.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - THE GRAMOPHONE, JUNE 1953:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis is the recommended LP of the Pathetique. Karajan's (33CX1026) has been described, not without reason, as \"vulgar and pretentious.\" Münch (on LXT2544) underplayed the emotional work. Cantelli strikes an admirable balance between the conflicting demands of expressiveness and taste. This is a more exciting, more moving performance than that which he gave in the Festival Hall six months ago. The composer's directions (incalzando, animanclo, ppppp, etc.) are more passionately observed. But hysteria is avoided, and in the finale the depths of misery are laid bare. In addition there is the same miraculous care for the orchestral playing which marks all that Cantelli does. Phrases are shaped and moulded with loving care. The only faults are trivial ones : for instance, the flutes, in the two bars before the trio in II (page 95, Boosey \u0026amp; Hawkes pocket score) do not observe Tchaikovsky's slur marks. The recording, on the whole, is splendid. The Philharmonia's fine wood-wind is vividly reproduced (notice how it sings out in the second limb of the second subject). Sometimes the string detail is not quite clear, and there are patches of gramophoney tone in the finale. But in warmth, brilliance and depth there is little to be desired.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cb\u003eNotes for Cantelli's 1952 Commercial Recording Sessions\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e \u003cem\u003e\u003cspan class=\"bodymid\"\u003eby Keith Bennett\u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eBy the time that Guido Cantelli appeared\n with the Philharmonia Orchestra for the first time in the autumn of \n1951 he had already made five complete commercial recordings with three \norchestras. In 1949 these were: the Haydn \u003cstrong\u003eSymphony No.93\u003c\/strong\u003e with the NBC Symphony Orchestra (2 March) followed by Rossini’s overture \u003cstrong\u003eLe siège de Corinthe\u003c\/strong\u003e (9 May) and Casella’s \u003cstrong\u003ePaganiniana\u003c\/strong\u003e\n (13 and 14 May) with the Orchestra Stabile dell’Accademia Nazionale di \nSanta Cecilia. The following year he made his second recording with the \nNBC Symphony Orchestra, this time it was Hindemith’s \u003cstrong\u003eMathis der Maler \u003c\/strong\u003e(13\n January), thus completing both the works which he had conducted for his\n debut in the States the previous year. Then followed the Tchaikovsky \u003cstrong\u003eSymphony No.5\u003c\/strong\u003e\n with the Orchestra della Scala after the orchestra’s visit to the \nEdinburgh Festival and this was recorded at the Abbey Road Studio in \nLondon (23 and 26 September). But it was 1951 that heralded the \nbeginning of his relationship with what was considered by many to be \nBritain’s premier orchestra - the Philharmonia Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCantelli returned to London in October \n1952 for six concerts with the Philharmonia Orchestra and plans were in \nplace by the previous August for recording sessions which were also to \nbe held in the Royal Festival Hall. This was possibly an experiment to \nestablish whether the hall would be a suitable venue for recordings but \nit was never used again for Cantelli and possibly did not find \u003cspan lang=\"en-GB\"\u003efavour\u003c\/span\u003e\n with Douglas Larter, the engineer for the majority of Cantelli \nrecordings on the HMV label. The works recorded and which appear on this\n CD were \u003cstrong\u003ePavane pour une infante défunte (\u003c\/strong\u003eRavel)\u003cstrong\u003e La gazza ladra\u003c\/strong\u003e (Rossini), and \u003cstrong\u003eSymphony No.6\u003c\/strong\u003e\n (Tchaikovsky) and as usual all had been played at the concerts – the \nRavel on 5 and 8 October, the Tchaikovsky on 14 October and the Rossini \non 17 October.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eRossini: Overture La gazza ladra\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe first session took place in the afternoon of 22 October and consisted of Rossini’s overture \u003cstrong\u003eLa gazza ladra. \u003c\/strong\u003eThis\n is interesting for four reasons; in the first place Cantelli only \nconducted the piece once (on 17 October); secondly it was his very first\n performance; thirdly it disposes of the view that Cantelli would only \nrecord a work after it been completely assimilated into his repertoire \nby several performance sand fourthly, the recording sheet has a clearly \nhandwritten annotation ‘Not approved by artistes’. That would appear to \nindicate that it was the producers – the highly experienced David \nBicknell and Lawrance Collingwood – who rejected the recording and it \nnever released by EMI. But why? True, there had been an outburst from \nCantelli when the principal flute, Gareth Morris (these two musicians \nwere not on the best of terms), ended a passage with a \npom-tiddlely-pom-pom to lighten the proceedings. But Alan Sanders in his\n review in the November 1994 issue of \u003cem\u003e\u003cstrong\u003eGramophone \u003c\/strong\u003e\u003c\/em\u003e wrote \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003ci\u003eCantelli did not approve the release of the Rossini overture, although it is difficult now to understand why, for this is a delectably vivacious and expressive reading, superlatively played in a more than adequate quality of sound. I hope the conductor’s shade will not be too annoyed that his wishes have been posthumously disobeyed. \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eWhile one can be in absolutely in total \nagreement with Sanders’ assessment of the recorded performance I am not \nconvinced that it was Cantelli who rejected the recording: the \nannotation is ‘artistes’ and I believe it is quite likely that it was \nBicknell and Collingwood (both of the International Artistes Department)\n who made the decision, maybe to pacify the conductor – but who knows \nfor certain?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eRavel: Pavane pour une infante défunte\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThis work had a particular significance \nfor Cantelli: he was inordinately fond of his nephew, Sergio, and was \ndevastated when the child died aged only 12 in November 1951. Although \nCantelli had only given one previous performance of this work (sometimes\n interpreted as a \u003cstrong\u003ePavane for a dead child\u003c\/strong\u003e rather than a\n princess) early in 1946 with an unknown orchestra – he resolved to \ndedicate his next performance – which took place on 1 December 1951with \nthe NBC Symphony Orchestra – to his memory. No further performances took\n place until his concerts with the Philharmonia Orchestra on 5 and 8 \nOctober 1952 and when he came to make the commercial recording a few \ndays later his sadness over the loss of his nephew created enormous \nproblems during the sessions as he was fully aware that he was now \nmaking – what was for him – a permanent memorial to Sergio. The problems\n were not caused by any shortcomings of the principal horn, Dennis Brain\n (how could it be?), but with Cantelli’s difficulty of balancing the \nharp which reduced Renata Scheffel-Stein to a nervous wreck. \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eMany sources refer to the number of takes which Cantelli required to obtain the performance he wanted for Ravel’s \u003cstrong\u003ePavane pour une infante défunte \u003c\/strong\u003ebut – after examination of the actual recording sheets – it would appear that the number has been exaggerated\u003cstrong\u003e. \u003c\/strong\u003eThe\n traumas experienced by the musicians at the sessions (and Cantelli took\n more than just three hours to achieve his requirements) are not evident\n on this CD – it is a most ravishing performance.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eTchaikovsky: Symphony in B minor, No.6, Op.74, \u003cem\u003ePathétique\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThere are instances when the tragedy of \nCantelli’s brief career registers with overwhelming force and this is \none of them. Cantelli performed this symphony on just six occasions and \nit is worth a moment’s thought that Karajan made more commercial \nrecordings of this symphony (seven) than Cantelli gave actual \nperformances. Cantelli first conducted the symphony on 27 July 1945 at \nan open air concert during his first appearance with the Orchestra della\n Scala and his last was the performance with the NBC Symphony Orchestra \non 21 February 1953 which has already been released on this label (\u003cstrong\u003ePASC 166\u003c\/strong\u003e).\n His previous concert performance was with the Philharmonia Orchestra on\n 14 October 1952 and was followed by four three-hour session on 24, 28 \nand 30 October for the commercial recording. As might be expected, with \nso short an interval between the commercial recording in London and the \nconcert performance in New York, there is little to choose between them:\n perhaps the commercial recording has a slightly more burnished sound, \nbut it’s marginal. Cantelli fully understands the emotional implications\n of the score which he conveys without resorting to exaggerations: the \ndemands of expressiveness are met without hysteria, tempi are \nwell-judged in all four movements, and the harrowing despair of the \nfinal movement is admirably portrayed. All this is also true of the live\n performance with the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003ePostscript\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eFinally, I cannot resist from commenting\n on a recording which I believe took place during the 1952 sessions but \nfor which I have been unable to trace any documentary evidence apart \nfrom a letter which I found while carrying out research at the EMI \nArchive. This was dated 26 July 1954 and was from Owen Mase to David \nBicknell. Mase – who had been the Concerts Adviser at the Royal Festival\n Hall from 1950 to 1953 – had become a close friend of Cantelli and \nBicknell often used him to liaise with the conductor. The gist of the \nletter was thanking Bicknell for sending some Cantelli LPs. He commented\n that the Schumann \u003cstrong\u003eSymphony No.4 \u003c\/strong\u003e(1953) ‘was a miracle of playing and recording’; considered that the \u003cstrong\u003eSiegfried Idyll\u003c\/strong\u003e (1951) ‘was absolutely first class’; thought the Brahms \u003cstrong\u003eSymphony No.1 \u003c\/strong\u003e(also\n 1953) ‘Excellent, though I think in the first movement he himself is \nnot at his absolutely top best’; for the Tchaikovsky he considered \u003cstrong\u003eSymphony No.5 \u003c\/strong\u003ewith the Orchestra della Scala (1950) as ‘good’ and \u003cstrong\u003eSymphony No.6 \u003c\/strong\u003e(1952)\n as ‘Very good’. There is nothing untoward there because those \nrecordings had been released. But the intriguing feature about this \ncorrespondence is that Mase also mentioned an overture which has never \nbeen issued – Wagner’s \u003cstrong\u003eEine Faust-Ouvertüre \u003c\/strong\u003e– \nconsidering it as being ‘Very good’. Despite diligent research no \nInstruction for Recording was found although an Instruction for \nRecording H5474 is mentioned on H5462 but was not seen – could that be \nrelevant regarding this ‘missing’ overture? Furthermore, no Recording \nSheet was located.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt should not come as no surprise that \nsome paperwork is missing because Cantelli often changed his mind about \nwhat he wanted to record and prior to 1955 his recordings with the \nPhilharmonia Orchestra were always associated with his concert \nprogrammes. If he was particularly pleased with the way the public \nperformance(s) had gone, the work was quite likely to be introduced into\n the recording schedule (cf the 1953 sessions when the four overtures \nscheduled were replaced by two symphonies!). It is as well to bear in \nmind that the EMI Archive is vast and covers over 100 years of \nrecordings and it is understandable if a couple of sheets of paper may \nhave become misfiled.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe recording \u003cem\u003emust \u003c\/em\u003ehave \nexisted! Owen Mase – whom I only met once – was not the sort of person \nwho would dream up a recording and then add further confusion to the \nsituation by making a comment about a non-existent record. Furthermore, \nafter Cantelli’s death, Bicknell issued an instruction that no \nrecordings by Cantelli – whether or not approved – were to be destroyed.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt is worth considering when this Wagner\n overture could have been recorded. Up until 1955 Cantelli’s recording \nsessions in London were always linked to the works which had been \nperformed in concerts a few days previously. Cantelli’s only \nperformances of \u003cstrong\u003eEine Faust-Ouvertüre \u003c\/strong\u003ewith the \nPhilharmonia Orchestra were on 14 and 17 October 1952 and it was not \nbroadcast. Between 22 and 30 October Cantelli had six three-hour \nrecording sessions in the Royal Festival Hall and it is perfectly \nfeasible that the Wagner was taped either on 22 or – more unlikely – 25 \nOctober.As can be seen in the Table below there were some 150 minuted \n‘spare’ on 22nd and while there is a lengthier period apparently \navailable on 25th one should bear in mind that the concentrated effort \nCantelli required for the number of takes for the \u003cstrong\u003ePavane\u003c\/strong\u003e probably left the orchestra pretty well exhausted.\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cdl\u003e\u003cdd\u003e\n\u003ctable style=\"width: 483px;\" cellspacing=\"0\" cellpadding=\"7\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"81\"\u003e \u003ccol width=\"46\"\u003e \u003ccol width=\"154\"\u003e \u003ccol width=\"144\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eDate\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eNo. of \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e3-hour\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eSessions\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eWork(s) recorded\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eApproximate Duration\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"CENTER\"\u003e\u003cstrong\u003eof Work(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"CENTER\"\u003e\u003cstrong\u003e(Timings for Takes)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e22 October\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003eLa gazza ladra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp\u003e9 minutes (28 minutes)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e25 October\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003ePavane\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e6 minutes (34 minutes)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/dd\u003e\u003c\/dl\u003e\n\u003cbr\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eFinally, I would like to record my \nthanks to the staff at the EMI Archive and others within the EMI \norganization who put up with the incessant questions posed over this \nenigma\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e\u003cspan class=\"body\"\u003e© 2011 Keith Bennett\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eKeith Bennett is the author of Guido Cantelli – Just \nEight Years of Fame (published 2009) which is only available from GC \nPublishers. \u003cbr\u003e For further details either write to:\u003cbr\u003e GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \u003cbr\u003e Suffolk IP12 4UL, UK \u003cbr\u003e or e-mail: \u003ca href=\"mailto:%20gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34515881613,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34515881677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34515881741,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34515881805,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC269.jpg?v=1490114354"},{"product_id":"pasc269-cd","title":"CANTELLI The 1952 Philharmonia Recordings - PASC269 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478238285,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478238349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC269_8871b54e-9a21-4b67-9d39-88faff1680c2.jpg?v=1658246475"},{"product_id":"pasc285","title":"M. LONG plays Ravel, Milhaud, Debussy (1929-52) - PASC285","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMILHAUD \u003c\/b\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMILHAUD \u003c\/b\u003e\u0026amp; \u003cb\u003eDEBUSSY \u003c\/b\u003eShort pieces\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1929, 1930, 1932, 1935 and 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 72:56 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eMarguerite Long, \u003c\/b\u003epiano\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eSymphony Orchestras\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003ePedro de Freitas Branco\u003cbr\u003e\u003c\/b\u003esupervisor \u003cb\u003eMaurice Ravel \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eDarius Milhaud\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eGeorges Tzipine \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again Pristine’s transfers easily surpass the competition. A very attractive release578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis enterprising release couples both of \nMarguerite Long’s recordings of the Ravel concerto. The earlier one has \nbeen widely available on many different labels, but the remake is a real\n rarity I’d never encountered before.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe virtues of the 1932 premiere recording \n(famously supervised—though not conducted, as once thought—by Ravel \nhimself) are well known: Long’s objective style, cool and dry but with \nsplendid snap and animation in the outer movements; and in the central \nAdagio, just the right kind of fine-tuned expression—a delicate \ngive-and-take in the melody, and purposeful direction to the phrases. \nThe orchestra is more of a mixed blessing; its sound and color \n(especially the winds) are ideal for the music, but the outer movements \nare plagued by serious rhythmic insecurity—the panicked scrambling of \nthe cor anglais solo at rehearsal 4–2 in the first movement is all too \nsymptomatic. Pristine’s transfer is much more vivid than previous ones I\n had on hand (EMI, Cascavelle, and Andante).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Paris Conservatory Orchestra is much better in\n her 1952 remake with Georges Tzipine—still plenty of tangy French \ncharacter, but without the near-chaos of their predecessors. On the \ndebit side, Long herself is now comparatively tired- and \ncareful-sounding, especially in the first movement (though still with \ngood technical command). The biggest difference is in the Adagio, now \nmuch slower, more casual, indeed sentimentalized, with too much pedal. \nThe finale is still effective, at much the same tempo as before. The \nrecording is excellent.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMilhaud’s concerto, recorded with the composer in \n1935, is dispatched with snap and spirit, though the music itself \nstrikes me as so much inconsequential note-spinning. His solo piano \nworks are much more attractive, and Long’s performances are piquant and \nrichly colored.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHer Debussy (recorded 1929–30) is very impressive \nindeed, combining French sensibility with strikingly robust emotional \nengagement. Melodic lines are sharply etched, with a keenly animated \nsense of the dramatic life of phrases, and everywhere a wonderful \nvariety of color, touch, and pedaling. Once again Pristine’s transfers \neasily surpass the competition (Cascavelle).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOverall, a very attractive release. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC285.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eLong's two Ravel Concertos - and the Milhaud - plus Debussy\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eA cornucopia of composer-performer collaboration in new XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe first recording of Ravel's Piano Concerto in G, allegedly with the composer conducting, took place exactly three months after its première in Paris - which he did conduct, and where most of the rest of the program had been conducted by de Freitas Branco. It is the latter who conducts the 1932 recording here, despite continued and repeated billing both by HMV and EMI, and more recently other labels, of Ravel himself.\u003c\/p\u003e\n\u003cp\u003eIt does seem far more likely that, by contrast, it is the composer who conducts Milhaud's Piano Concerto here - as with Ravel, and also Debussy, Fauré and other French composers of the era, Marguerite Long had a close and fruitful working relationship with Darius Milhaud.\u003c\/p\u003e\n\u003cp\u003eNaturally the 1920s and 30s recordings frequently betray their age sonically, though often - particularly in the Milhaud - we are treated to clear upper frequencies, particularly in the brass, which offer a brightness which, if occasionally a little harsh, suggests a far more recent recording. The Ravel concerto - in its 1932 recording - suffered considerable swish, particularly during the quieter second movement, and a lot of effort has been expended in trying to reduce or eliminate this.\u003c\/p\u003e\n\u003cp\u003eNaturally the 1952 recording of the concerto is of considerably higher fidelity - it was included here both to bring together Long's only studio recordings of the concerto, and also to offer the chance to contrast and compare the two quite different interpretations by someone who perhaps knew the both work and its composer's intentions better than any other pianist. \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\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G major\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Pedro de Freitas Branco\u003c\/b\u003e\u003cbr\u003erecording supervised by \u003cb\u003eMaurice Ravel\u003c\/b\u003e\u003cbr\u003eNB. Ravel has regularly but mistakenly been billed as the conductor of this recording \u003cbr\u003eRecorded 14 April 1932, issued as Columbia LFX 257-259\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003ePiano Concerto No. 1, Op. 127\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eDarius Milhaud \u003c\/b\u003e\u003cbr\u003eRecorded 5 April 1935, issued as Columbia LFX 375-6 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eAutomne, Op. 115 - 2: Alfama\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eSaudades do Brazil, Op. 67 - 12: Paysandu\u003cbr\u003eRecorded 5 April 1935, issued as Columbia LFX 375 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eTwo Arabesques\u003cbr\u003eRecorded 10 July 1930, issued as Columbia LF 55 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eEstampes - 3. Jardins sous la pluie\u003cbr\u003eRecorded 12 November 1929, issued as Columbia LFX 24\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eLa Plus que Lente (valse)\u003cbr\u003eRecorded 6 November 1929, issued as Columbia LFX 24\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G major\u003cbr\u003e\u003cb\u003eOrchestre de la Socitété des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eGeorge Tzipine\u003c\/b\u003e\u003cbr\u003eRecorded 12 June 1952, issued as Columbia FCX 169\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMarguerite Long\u003c\/b\u003e piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, March - April 2011\u003cbr\u003eCover artwork based on a photograph of Marguerite Long\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\nTotal duration: 72:56 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC285.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC285.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\"Long made two recordings of the G major Concerto. The first one was recorded by Columbia on three 78 rpm records shortly after the January 1932 premiere. René Dumesnil reviewed it in Eve:\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe recording of the Concerto pour piano by Maurice Ravel ... is quite worthy of the new work, whose success this winter in Paris, and later in all of Europe's capitals, was resounding. It is Mme. Marguerite Long, dedicatee of the Concerto, whom we hear again at the piano with the same delight as we did at the work's premiere. Her interpretation can be regarded as a model of intelligence, of finesse and of technical perfection. . . . And one must praise equally the orchestra under the direction of the composer. \u003c\/i\u003e\u003cbr\u003e[August 28, 1932.]\u003cbr\u003e\u003cbr\u003eThe recording was advertised as being conducted by Ravel, but that was not quite the truth. It was actually under the baton of Pedro de Freitas-Branco, who had conducted most of the program on January 14, 1932. But, Long insisted, Ravel was present in the recording booth during the whole session, which lasted well into the night. He attentively followed every minute, voicing his opinion over the smallest details, and demanding that the performers start over until he was completely satisfied. And in the early morning hours he finally was.\u003cbr\u003e\u003cbr\u003eTwenty years later, in 1954 [sic], with the advent of long-playing records, Long recorded the G major Concerto again, with the Orchestre de la Société du Conservatoire under Georges Tzipine. On the flip-side was a new performance of Fauré's Ballade, conducted by André Cluytens. The 1954 Ravel recording was criticized by many for its stylistic looseness, particularly in the slow movement. At 80, Long chose a more sentimental rendition, as opposed to the classical sobriety of her earlier version. Whether a matter of taste or not, the later performance contradicted Ravel's intentions, as Long herself described them.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCecilia Dunoyer, \"Marguerite Long: a life in French music, 1874-1966\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\"In 1933, Milhaud set out to write his First Piano Concerto and asked Long to give its first performance and to be its dedicatee. His inscription on her score is typical of his tongue-in-cheek-wit: \"Je dépose à vos pieds chère et sublime amie cette oeuvre que vous ferez vivre par vos mains admirables\" (I leave at your feet, dear and sublime friend, this work, which you will bring alive with your admirable hands). Still in the heat of the success of Ravel's G major Concerto, Long accepted wholeheartedly. The première took place on November 25, 1934, with the Orchestre Pasdeloup under the direction of Albert Wolff. The November issue of Le Monde musicalacknowledged the event with some reserve:\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe concert of Sunday, [November] 25, was a beautiful festival of French contemporary music. It opened with the Saudades do Brasil by Darius Milhaud, strongly perfumed with smells of the Brazilian forest, and continued with the first audition of a new Concerto for piano by the same author, dedicated in 1933 to Marguerite Long. Of rather small dimension, it gives the piano a place of honor. It is the piano which leads, plays with the themes, discreetly emphasized by the orchestra soloists. ... It pales, of course, next to the prodigious Concerto by Ravel, which, under Long's magic fingers met another triumph, but it is a valuable asset to the modern pianist's repertoire.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eA second performance took place on January 19, 1935 at the Salle Rameau with Long as soloist. The program consisted of music by French composers, each conducting his own work: Milhaud, Ibert, Gaubert, Siohan, and Honegger. In 1938 [sic] the Milhaud Concerto was recorded by Columbia, this time under the direction of the composer. Two pieces for piano, \"Paysandu\" (from Saudades do Brasil) and \"Alfama\" (from l'Automne), complete the record. \"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCecilia Dunoyer, \"Marguerite Long: a life in French music, 1874-1966\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34586423245,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34586423309,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34586423373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34586423437,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC285_0940e2b2-f6ca-4b90-bfbb-1cbd909f2766.jpg?v=1687854655"},{"product_id":"pasc285-cd","title":"M. LONG plays Ravel, Milhaud, Debussy (1929-52) - PASC285 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478252813,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478252941,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC285.jpg?v=1687854679"},{"product_id":"pasc289","title":"ANSERMET conducts Debussy, Ravel and Mussorgsky (1951\/53) - PASC289","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eLa Mer\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eLa Valse\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMUSSORGSKY\/RAVEL\u003c\/b\u003e Pictures at an Exhibition\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1951 \u0026amp; 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 67:41 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eL'Orchestre de la Suisse Romande\u003cbr\u003eParis Conservatoire Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eErnest Ansermet\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe dazzling 1953 Pictures at an Exhibition testifies to what the Decca engineers could do578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI was all set to dismiss this release as superfluous. After \n                  all, Ansermet re-recorded all this material in excellent stereo \n                  - \u003ci\u003eLa mer\u003c\/i\u003e, in fact, twice. The rationale for resuscitating \n                  these earlier versions seemed murky. However, the dazzling 1953 \n                  \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e testifies to what the Decca \n                  engineers could do even working in monaural. That said, it has \n                  taken Pristine Audio's digital processing to reveal the full \n                  extent of their full accomplishment. The reproduction is truthful \n                  in timbre, easily encompassing a full range of dynamics. Only \n                  a touch of congestion on the full-throated brass chords of \u003ci\u003eCatacombs\u003c\/i\u003e \n                  betrays any limitations. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Ansermet's performance gives the score's pictorial elements \n                  full measure, while maintaining an unbroken musical line, both \n                  within and between movements. The serious movements at the start \n                  - \u003ci\u003eGnomus\u003c\/i\u003e, \u003ci\u003eBydlo\u003c\/i\u003e, and \u003ci\u003eThe Old Castle\u003c\/i\u003e - are \n                  evocative. The saxophone in the last-named is plangent yet contained. \n                  By contrast, the \u003ci\u003escherzando\u003c\/i\u003e movements - \u003ci\u003eTuileries\u003c\/i\u003e, \n                  \u003ci\u003eBallet of the Unhatched Chicks\u003c\/i\u003e, and \u003ci\u003eLimoges\u003c\/i\u003e - \n                  are perky and alert. \u003ci\u003eBaba-Yaga\u003c\/i\u003e is vigorous and mobile, \n                  yet unpressured. \u003ci\u003eThe Great Gate of Kiev\u003c\/i\u003e begins with dignified \n                  restraint and opens out more grandly as it proceeds. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The Suisse Romande orchestra, as usual in its \"core\" repertoire, \n                  plays with commitment - the more so, I suspect, for its \u003ci\u003enot\u003c\/i\u003e \n                  being a sleek virtuoso ensemble. The clear, unified strings \n                  muster some impressive dynamic surges and these are captured \n                  well. The woodwind is expressive and piquant, with pointed articulation. \n                  The principal horn's voicing of the second \u003ci\u003ePromenade\u003c\/i\u003e \n                  is clunky and dispirited, but the solo trumpet is excellent \n                  in \u003ci\u003eSamuel Goldberg and Schmuyle\u003c\/i\u003e. The brass choir, as \n                  suggested, is firm and well-balanced. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The other items sound comparatively run-of-the-mill. \u003ci\u003eLa mer\u003c\/i\u003e \n                  is surprisingly clear for 1951 but the climaxes don't fill out \n                  and expand as they would in stereo - or, for that matter, as \n                  they do in the \u003ci\u003ePictures\u003c\/i\u003e. The violins sound dry in exposed \n                  moments. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Ansermet's lithe, even balletic interpretation sounds more spontaneous \n                  than in his remakes. The conductor impulsively pushes the music \n                  forward here and marks the rhythms more strongly there. The \n                  calmer passages make a good contrast, though the recording militates \n                  against \"atmosphere\". I'm pleased, however, to hear the composer's \n                  added brass parts, which most conductors don't use, at 5:59 \n                  in the finale; without them, the passage is bare and aimless. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  A change of venue doesn't benefit \u003ci\u003eLa valse\u003c\/i\u003e. The Paris \n                  Conservatoire Orchestra was officially the \"Orchestra of the \n                  Concert Society of the Paris Conservatory\", a professional group, \n                  not the school orchestra. It suffered, according to John Culshaw's \n                  memoir \u003ci\u003ePutting the Record Straight\u003c\/i\u003e, a rampant deputy \n                  system that worked against achieving any consistent level of \n                  polish. Its recordings stand as testimony. Remarkably, and despite \n                  the mushy \"placement\" of numerous after-beats, Ansermet still \n                  projects the piece in a broad, coherent arc, though the introduction \n                  and coda are noticeably deliberate. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Veteran discophiles will be curious about this \u003ci\u003ePictures\u003c\/i\u003e. \n                  For the general collector, however, Ansermet's shimmering, demonstration-quality \n                  remake on Decca Eloquence will be the more logical choice; avoid \n                  the toppy Weekend Classics issue. Also strong contenders are \n                  the higher-octane accounts of Ormandy (RCA), Giulini (DG), or \n                  Ozawa (RCA). \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eStephen Francis Vasta\u003c\/i\u003e\u003c\/b\u003e \u003cbr\u003e\n                  \u003ci\u003eStephen Francis Vasta is a New York-based conductor, coach \n                  and journalist.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC289.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAnsermet masterful in French music and orchestration\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eDecca recordings from the early 50s in fabulous 32-bit XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThese Decca recordings, made in Geneva and Paris in the early 1950s, demonstrate the growing technical prowess of the company in the earliest days of tape and vinyl recordings, building on their ffrr 78rpm recordings of the 1940s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, there was still room for considerable improvement over the original sound quality - something which would come rapidly with experience - and there are audibly significant differences between the 1951 Debussy recording and the two later, 1953 recordings. The original Debussy lacked depth and had a quite constricted sound to it, whilst the Mussorgsky was also somewhat thin, though without sounding quite as harsh.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eOf the three, the Ravel, recorded in Paris rather than Geneva, was the most successful, and in these new Pristine remasterings is the one which sounds closest to the original. Fortunately Decca's equipment did capture a lot more than is apparent from a casual listen to their original LPs, and with the re-equalisation inherent in Pristine's 32-bit XR remastering technology, the hidden depths and heights of each of these superb recordings can now be enjoyed to the full. \u003c\/span\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\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDEBUSSY \u003c\/strong\u003eLa Mer \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecording producer: Victor Olof\u003cbr\u003eRecording Engineer: Arthur Haddy\u003cbr\u003eRec. March 1951, Victoria Hall, Geneva\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e*RAVEL \u003c\/strong\u003eLa Valse \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecording producer: John Culshaw\u003cbr\u003eRec. 15-19 \u0026amp; 22-25 June, 1953, \u003cbr\u003eLa Maison de la Mutualité, Paris\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMUSSORGSKY\/RAVEL \u003c\/strong\u003ePictures at an Exhibition \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecording producer: Victor Olof\u003cbr\u003eRecording Engineer: Gil Went\u003cbr\u003eRec. December 1953, Victoria Hall, Geneva\u003cbr\u003e\u003cbr\u003eTransfers from Decca LS5267 (Debussy) \u0026amp; London LL.956 (Ravel\/Mussorgsky) \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eL'Orchestre de la Suisse Romande\u003cbr\u003e*L'Orchestre de la Société des Concerts du Conservatoire de Paris \u003cbr\u003eErnest Ansermet \u003c\/strong\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Ernest Ansermet\u003c\/p\u003e\u003cp\u003eTotal duration: 67:41 \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\/PASC289.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC289.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cstrong\u003eContemporary review excerpt - Mussorgsky\/Ravel, Pictures at an Exhibition\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\"...the Decca, I think, scores an inner; \narguably a bull's-eye. In places it sounds to me better than any record I\n have ever heard ; and everywhere it sounds extremely good. It has all \nthe qualities of the H.M.V. and another new one, in addition: without, \nanywhere, losing any vitality it has a less rasping string tone--both \nmuted (as in The Old Castle), and unmuted, the strings sound more human \nthan previously in such high tension recordings. The Catacombs—those \nthundering chords for trombones and tuba—sound less impressive than in \nthe Kubelik version; partly due to a less altogether dominating and \nconvincing performance than the Chicago brass section gave. But the only\n reservation worth making about the recording, I think, is one about the\n second side of the disc—from The Hut on Fowl's Legs to the end: the \ncopy in front of me (which, incidentally, is for a Decca, quite \nremarkably free from surface swish) seems to be slightly less \noverwhelming here; to deteriorate just sufficiently to cause a leaf or \ntwo to flutter disconsolately from the laurel wreath the record has \nstill well earned. I was convinced, listening to side one, that it was \nthe best recording I had ever heard, in spite of an occasional feeling \nof slight overloading; the conviction wavered, though, on the reverse.\u003cbr\u003e\u003cbr\u003eThe\n electrifying performance that gave the engineers material to work on in\n the first place must not be overlooked; in the ordinary way it would \nrun no danger of that. Ansermet does the whole thing beautifully; though\n Kubelik remains the only conductor of the three who joins the pictures \nup properly where necessary. The Swiss trumpet player plays Samuel \nGoldenburg—the picture that was the undoing of the Belgian player—better\n even than the American; he makes the actual rhythm of his exhausting \nphrase much clearer. Though, while individuals are under discussion, it \nmay be suggested that no alto-playing troubadour has yet functioned \nbeneath the walls of The Old Castle with quite such convincingly \nlugubrious effect as the saxophonist of the Chicago orchestra... \"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eM.M,\u003c\/strong\u003e review excerpt, Gramophone, April 1954\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":34588098701,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34588098765,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34588098829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34588098893,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC289.jpg?v=1490184643"},{"product_id":"pasc289-cd","title":"ANSERMET conducts Debussy, Ravel and Mussorgsky (1951\/53) - PASC289  - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork","offer_id":34587969869,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve","offer_id":34587969933,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC289_24580297-a1f3-4fd2-a903-c9b6029c0bba.jpg?v=1658247004"},{"product_id":"pasc111","title":"CANTELLI Conducts 20th Century Music (1949-54) - PASC111","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eJeu de Cartes \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBETTINELLI \u003c\/b\u003eInvenzione No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eKonzertmusik für Streichorchester und Blechbläser \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eLa Valse\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eRecorded 1949-54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 11px;\"\u003eTotal duration: 59:45 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC111.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eFour rare and previously unreleased recordings \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eXR-remastered from live broadcast tapes \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThese recordings were remastered from tapes in the collection of Keith Bennett, whose new biography of Guido Cantelli is, at the time of writing, imminent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAsked to comment briefly about the collection of performances and recordings presented here, Mr. Bennett replied thus:\u003c\/p\u003e\u003cp class=\"body\" style=\"margin-left: 25px;\" align=\"left\"\u003e\u003cbr\u003e\"I'll deal with the composers in alphabetical order:\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBettinelli \u003c\/b\u003e- this performance of the first of the Due Invenzioni - he [Cantelli] only programmed it twice and the other was in 1946 - has never appeared on CD although it was once on a double LP (LAR 31);\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHindemith \u003c\/b\u003e- Cantelli performed this on four occasions - three with the Philharmonic-Symphony Orchestra of New York one of which has appeared on CD (no doubt it has long been out of print) but this NBC performance has never appeared on CD;\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRavel \u003c\/b\u003e- this can be called core repertoire, Cantelli performed it 38 times! The performance of 1949 was the first of three which he gave with the NBCSO but be warned - it's his worst: however, it has never appeared on CD. The 1951 performance is on Music \u0026amp; Arts CD (in a box of 12) and the 1954 performance was in the first (and only) volume of The Cantelli Legacy issued by the defunct Arturo Toscanini Society of America (LPs of course) and is on an AS disc CD long out of print. Incidentally, La Valse was scheduled for commercial recording on three occasions but, alas, it was one of many where Cantelli had a change of mind;\u003cbr\u003e\u003cbr\u003e\u003cb\u003eStravinsky \u003c\/b\u003e- Cantelli performed this twice with the Orchestra della Scala; once with the NBC SO on 20 December 1952 (which has appeared on CD), but none of the remaining nine performances - all with the Boston Symphony Orchestra - has appeared on CD.\"\u003cbr\u003e\u003c\/p\u003e \n\n\u003cp class=\"body style21\" align=\"left\"\u003eFrom a technical perspective the recordings all responded well to XR remastering, though the older Ravel recording has considerably less dynamic and frequency range that the other three. Overall they make a very fine collection. I have retained Ben Grauer's final continuity announcement at the very end of the Ravel recording which completes this issue. Elsewhere the recordings are left with brief applause where available, which is quickly faded.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003cb\u003eStravinsky \u003c\/b\u003e- Jeu de Cartes\u003cbr\u003eBoston Symphony Orchestra (Symphony Hall, 31\/1\/53)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBettinelli \u003c\/b\u003e- Invenzione No. 1 (from Due Invenzione)\u003cbr\u003eNBC SO (Carnegie Hall, 20\/12\/53)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eHindemith \u003c\/b\u003e- Konzertmusik für Streichorchester und Blechbläser, Op. 50\u003cbr\u003eNBC SO (Carnegie Hall 31\/1\/54)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eRavel \u003c\/b\u003e- La Valse\u003cbr\u003eNBC SO (NBC Studio 8H, 5\/2\/49)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAll believed previously unissued on CD. The Bettinelli once appeared on a long out-of-print LP.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive performances recorded 1949-54 in Boston and New York. \u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, April 2008\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 59:45 \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC111.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC111.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":34653063117,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34653063181,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34653063245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34653063309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC111.jpg?v=1490262131"},{"product_id":"pasc111-cd","title":"CANTELLI Conducts 20th Century Music (1949-54) - PASC111 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478267597,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478267661,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC111_d3ec9ce6-64f6-4744-a2b5-a2a0f279b3bf.jpg?v=1658241321"},{"product_id":"pasc125","title":"KLEIBER conducts Handel, Schubert, Ravel (1946) - PASC125","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eOverture to Berenice\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 3 in D, D200\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eMa Mère l'Oye\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 45:41\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eErich Kleiber\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC125.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eExcellent sound quality from this 1946 broadcast concert\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrom Kleiber's first NBC guest-conducting season at Toscanini's request\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"left\"\u003e \u003c\/p\u003e\u003cspan class=\"body\"\u003eThis recording was rebroadcast by BBC Radio, most probably in the late 1970s\u003c\/span\u003e\u003cspan class=\"body\"\u003e, and was well captured on top-quality open-reel tape which survived the next thirty years in excellent condition.\u003c\/span\u003e\n\u003cp\u003eAlthough these recordings have, separately, appeared on reissues before, we think this may be the first time that this concert has been issued in its entirety (minus original announcements, which the BBC omitted in favour of their own commentary).\u003c\/p\u003e\n\u003cp\u003eThe recording has responded very well indeed to XR remastering and Ambient Stereo processing. Despite the relatively dry sound associated with Studio 8H, there is good presence, and not the dead sound too commonly associated with NBC Symphony Orchestra recordings of the era.\u003c\/p\u003e\n\u003cp\u003eOverall, a delightful concert, an excellent performance, and an intriguing range of music!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eHandel:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerenice\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSchubert: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 3 in D, D200\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eRavel:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ma Mère l'Oye\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eErich Kleiber\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive broadcast from NBC Studio 8H, 3rd March, 1946\u003cbr\u003e Transferred from later BBC re-broadcast \u003cbr\u003e \u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, September 2008 \u003cbr\u003e Cover artwork based on a photograph of Erich Kleiber\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 45:41\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e 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PASC501","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHAYDN  \u003c\/b\u003eSymphony No. 93 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003ePiano Concerto No. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePavane pour une infante défunte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFALLA  \u003c\/b\u003eEl Sombrero des Tres Picos, Suite No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVIVALDI  \u003c\/b\u003eL'Estro Armonico: Concerto Grosso No. 11\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003ePiano Concerto No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePISTON \u003c\/b\u003eToccata\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCOPLAND \u003c\/b\u003eEl Salón México\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration:  2hr 26:56  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWalter Gieseking, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eRudolf Firkušný, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC501.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese recordings were sourced from generally very high quality tape recordings. Despite some electrical hum and the occasional buzzing, both of which have largely been dealt with, only the very occasional incidence of mild, and short-lived dropout in any way troubled the reproduction. XR remastering has greatly improved the listening experience, with a fuller, clearer and cleaner sound. Whilst much of Jim Fassett's original CBS radio commentary has been retained, I have edited out sections irrelevant to the concerts.      \u003c\/p\u003e\u003cp\u003e\u003cb\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\u003e\u003cb\u003eCD ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1 Concert 1 - Introduction  (1:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHAYDN  Symphony No. 93 in D major, Hob. 1:93\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Adagio - Allegro assai  (8:09)\u003cbr\u003e3 2nd mvt. - Largo cantabile  (5:37)\u003cbr\u003e4 3rd mvt. - Menuetto (Allegretto) - Trio  (4:19)\u003cbr\u003e5 4th mvt. - Finale (Presto ma non troppo)  (5:30)\u003cbr\u003e\u003cbr\u003e6 Introduction to Mozart  (1:28) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART  Piano Concerto No. 21 in C major, K.467\u003c\/b\u003e\u003cbr\u003e7 1st mvt. - Allegro maestoso  (14:54)\u003cbr\u003e8 Andante  (7:39)\u003cbr\u003e9 Allegro vivace assai  (7:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWalter Gieseking,\u003c\/b\u003e piano\u003cbr\u003e\u003cbr\u003e10 \u003cb\u003eRAVEL Pavane pour une infante défunte\u003c\/b\u003e  (6:32)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFALLA  El Sombrero des Tres Picos, Suite No. 2\u003c\/b\u003e\u003cbr\u003e11 1. Los vecinos  (3:06)\u003cbr\u003e12 2. Danza del molinero (Farruca)  (2:52)\u003cbr\u003e13 3. Danza final  (6:54)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 6 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1 Concert 2 - Introduction  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVIVALDI  L'Estro Armonico: Concerto Grosso in D minor, Op. 11, No. 3, RV565\u003c\/b\u003e\u003cbr\u003e2 1st mvt. - Allegro   (1:11)\u003cbr\u003e3 2nd mvt. - Adagio e spiccato  (0:41)\u003cbr\u003e4 3rd mvt. - Allegro  (3:35)\u003cbr\u003e5 4th mvt. - Largo e spiccato  (3:45)\u003cbr\u003e6 5th mvt. - Allegro  (4:12)\u003cbr\u003e\u003cbr\u003e7 Introduction to Beethoven  (2:20)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Piano Concerto No. 3 in C minor, Op. 37\u003c\/b\u003e\u003cbr\u003e8 1st mvt. - Allegro con brio  (15:15)\u003cbr\u003e9 2nd mvt. - Largo  (8:48)\u003cbr\u003e10 3rd mvt. - Rondo. Allegro - Presto  (9:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e11 \u003cb\u003ePISTON Toccata\u003c\/b\u003e  (8:15)\u003cbr\u003e\u003cbr\u003e12 Introduction to Copland  (1:12)\u003cbr\u003e\u003cbr\u003e13 \u003cb\u003eCOPLAND El Salón México\u003c\/b\u003e  (11:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 13 March, 1955\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eNew York Philharmonic-Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e    \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003eTotal duration:  2hr 26:56   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC501.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC501.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull background notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eS\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eleeve Note for 6 and 13 March 1955 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\n\n\u003cp\u003e\n    It is a common misconception that Guido Cantelli had a limited repertoire.\n    This is possibly due, to some extent, because of the small number of his\n    commercial recordings which – apart from three - were approved by the\n    conductor; there were four with the NBC Symphony Orchestra; two with the\n    Orchestra Stabile Accademia di Santa Cecilia, Roma; one with the Orchestra\n    del Teatro alla Scala, Milano; 20 with the Philharmonia Orchestra and one\n    with the New York Philharmonic-Symphony Orchestra. That is very little\n    compared to the recorded legacies of other conductors of international\n    stature.\n\u003c\/p\u003e\n\u003cp\u003e\n    The situation changed for collectors of recorded music when Cantelli began\n    to give concerts in America. Whereas, in the UK, only five of Cantelli’s\n    concerts were broadcast. Three were all with the Philharmonia Orchestra and\n    the other two were with the New York Philharmonic-Symphony Orchestra. The\n    majority of the performance included in the concert given on 9 September\n    1954 in the Usher Hall during the Edinburgh Festival has already appeared\n    on CD and I can state with some confidence that another broadcast which was\n    given in London’s Royal Albert Hall on 11 May 1953 will be released some\n    time during 2017. Finally, when the New York Philharmonic-Symphony\n    Orchestra began its European Tour in 1955 its first stop was Edinburgh and\n    two concerts were broadcast from the Usher Hall on 6 and 7 September. These\n    were all BBC broadcasts.\n\u003c\/p\u003e\n\u003cp\u003e\n    One aspect to note is that the NBC’s radio station – unlike the BBC - was a\n    commercial operation and advertising occasionally took precedence over the\n    music which could be cut off the air if it ran over time.\n\u003c\/p\u003e\n\u003cp\u003e\n    From 1949 Cantelli gave 40 concerts with the NBC Symphony Orchestra which\n    were all broadcast and he appeared every year until 1954 when the orchestra\n    was disbanded. The number of works which he conducted was 106 but 31 of\n    these appeared later as commercial recordings. It is interesting to note,\n    for instance, that three of the four commercial recordings with this\norchestra (Haydn’s \u003cem\u003eSymphony No.93\u003c\/em\u003e; Hindemith’s\u003cem\u003e Sinfonie Mathis\u003c\/em\u003e \u003cem\u003eder Maler\u003c\/em\u003e and the Franck    \u003cem\u003eSymphony\u003c\/em\u003e)\u003cem\u003e \u003c\/em\u003ewere performed in these concerts three times.\n    Other works which were also performed this often with the orchestra were\n    Bartók’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e (no commercial recording); the\n    Mozart \u003cem\u003eSymphony No.29\u003c\/em\u003e (the very last work he recorded\ncommercially); Ravel’s \u003cem\u003eLa valse \u003c\/em\u003eand Wagner’s    \u003cem\u003eRienzi Overture \u003c\/em\u003e(no commercial recordings). There are even more\n    examples of works being played twice. Even so, the Cantelli discography was\n    increased by 58 compositions which were broadcast and never recorded\n    commercially. Copyright law is complicated and is not the same for every\n    country but probably it was not illegal to record broadcasts for personal\n    use so it was quickly obvious that serious listeners soon had their tape\n    recorders connected to their radios to increase their collections of\n    recorded music.\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1952 Toscanini was 85 and Cantelli possibly realised that his mentor’s\n    career was nearing its end. Furthermore, once Toscanini had retired it\n    would be inconceivable that the NBC would continue to maintain a symphony\n    orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    At this time Cantelli envisaged that a substantial number of his concerts\n    would be in America. He had already given six concerts with the Pittsburgh\n    and three with the San Francisco Symphony Orchestras in 1951. Thus it was a\n    logical step to have a career with the main orchestra in the metropolis,\n    the New York Philharmonic-Symphony Orchestra. It is quite revealing to\n    compare his career in Europe with that in America from 1952.\n\u003c\/p\u003e\n\u003ctable cellspacing=\"0\" cellpadding=\"0\" border=\"1\"\u003e\n    \u003ctbody\u003e\n        \u003ctr\u003e\n            \u003ctd valign=\"top\"\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    \u003cstrong\u003e52\u003c\/strong\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    \u003cstrong\u003e53\u003c\/strong\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    \u003cstrong\u003e54\u003c\/strong\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    \u003cstrong\u003e55\u003c\/strong\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    \u003cstrong\u003e56 \u003c\/strong\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    \u003cstrong\u003eTotal\u003c\/strong\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    Appearances with European Orchestras\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    12\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    15\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    17\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    30\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    23\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    97\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    Appearances with American Orchestras\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    21\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    33\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    32\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    46\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    14*\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    146\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    Appearances with the New York Philharmonic-Symphony\n                \u003c\/p\u003e\n                \u003cp\u003e\n                    Orchestra\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    11\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    15\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    15\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    44\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    14*\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd valign=\"top\"\u003e\n                \u003cp\u003e\n                    99\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n    \u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\n    *Fourteen more concerts had been scheduled for November and December which obviously did not take place due to Cantelli’s tragic death in an air\n    crash.\n\n\u003c\/p\u003e\u003cp\u003e\n    Two factors should be noted. First, the programmes were for “proper”\n    concerts with a paying audience with an interval and second, Cantelli now\n    had the benefit of working with instrumentalists with international\n    reputations. Both concerts on these CDs were in the New York\n    Philharmonic-Symphony Orchestra’s subscription series which meant that the\n    majority of the programme was played three times. Thus, while Gieseking\nplayed Franck’s \u003cem\u003eVariations synphoniques\u003c\/em\u003e on 3\u003csup\u003erd\u003c\/sup\u003e and 4\u003csup\u003eth\u003c\/sup\u003e of March, it was replaced by Ravel’s \u003cem\u003ePavane pour une\u003c\/em\u003e    \u003cem\u003einfante d\u003c\/em\u003e\u003cem\u003eéfunte\u003c\/em\u003e for the concert on 6\u003csup\u003eth\u003c\/sup\u003e March.\n    Similarly, while the first two concertos of Vivaldi’s \u003cem\u003eSeasons \u003c\/em\u003ewere\nplayed on 10th and 11\u003csup\u003eth\u003c\/sup\u003e March these were replaced by Vivaldi’s    \u003cem\u003eConcerto Op.3\u003c\/em\u003e \u003cem\u003eNo.11\u003c\/em\u003e for the concert on 13\u003csup\u003eth\u003c\/sup\u003e\n    March. (Incidentally, Cantelli recorded the Vivaldi \u003cem\u003eSeasons \u003c\/em\u003e\n    complete with this orchestra later in the year on 29 March. Cantelli’s\n    action caused considerable hiatus between HMV, RCA and CRI which has been\n    documented elsewhere†\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Concert on 6 March 1955 given in Carnegie Hall, New York\n    \u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eHaydn (1732-1809): Symphony in D major. Hob1:93\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This work was something of Cantelli’s calling card; he gave 35 performances\n    with eleven orchestras. One of the interesting features – unlike his elder\n    peers eg Beecham – is that he played all the repeats. He was working from a\n    corrupt edition and did not have just the first desk strings playing in the\n    opening of the second movement: but, nevertheless, his musicianship shines\n    through and this live performance is among the best of the five\n    performances which have been recorded from Cantelli’s recorded concerts..\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        Mozart (1756-1791): Piano Concerto in C major, K.467, No.21\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    When Walter Legge suggested to Walter Gieseking that he might wish to\n    record the \u003cstrong\u003e\u003cem\u003eEmperor \u003c\/em\u003e\u003c\/strong\u003ewith Cantelli in a forthcoming\n    stereo version the pianist demurred on the grounds that when one had\n    recorded a work with Karajan to work with anyone else was a retrograde\n    step. One can only speculate that Gieseking was so impressed by his\n    collaboration with Cantelli in 1955 (which was the young conductor’s first\n    performances of this concerto) because he came back the next season. Which\nconcerto did he play? No surprise really: it had to be the …    \u003cstrong\u003e\u003cem\u003eEmperor\u003c\/em\u003e\u003c\/strong\u003e! As far as this Mozart concerto is\n    concerned the critics commented that the veteran pianist and the young\n    conductor were at one accord and certainly this is another highlight in\n    Cantelli’s discography.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRavel (1875-1937): Pavane pour une infant d\u003c\/strong\u003e\n    \u003cstrong\u003eéfunte\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    This composition had a very special significance for Cantelli. He was\n    inordinately fond of his nephew, Sergio, and was devastated when the child\n    died when only 12 in November 1951. His next performance, on 1 December,\n    was dedicated to \u003ca\u003eSergio’s\u003c\/a\u003e memory. The next performances took place\n    with the Philharmonia Orchestra on 5 and 8 October 1952. A few days later\n    there was a commercial recording and the highly strung Cantelli was fully\n    aware that it would be a permanent memorial to Sergio, The sessions were\n    fraught with tension with Cantelli experiencing enormous problems with\n    balancing the harp’s contribution: the lady harpist, Renata Scheffel-Stein,\n    was reduced to a nervous wreck. Despite all this, it will take a\n    superlative artist to erode the memory Dennis Brain’s concert performance\n    or his commercial recording with the Philharmonia Orchestra. On this CD we\n    have a conductor who respects Ravel’s economy in this gravely beautiful\n    score – there is something about the six minutes of music which has\n    Mozartian refinement with maximum impact from limited resources. It is only\n    72 bars and the entire work only takes 12 pages of a study score. There are\n    13 changes of tempi but the horn is only asked to play \u003cem\u003eforte \u003c\/em\u003efor\n    very few notes. The orchestra’s principal horn, James Chambers, matches\n    Cantelli’s sensibility. It does not quite erase the memory of Cantelli’s\n    performance with Dennis Brain, but it is a close run thing. This\n    performance of this sombre piece is greeted by a lengthy silence from the\n    audience. In this author’s view that should be considered as the highest\n    praise.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e De Falla (1865-1935): El sombrero de tres picos \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli only ever conducted the \u003cem\u003eSecond Suite\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003e\nwith the three dances – \u003cem\u003eThe Neighbours’ Dance, The Miller’s Dance\u003c\/em\u003e    \u003cstrong\u003e \u003c\/strong\u003eand \u003cem\u003eThe Final Dance\u003c\/em\u003e\u003cstrong\u003e \u003c\/strong\u003efrom de\n    Falla’s ballet music for \u003cstrong\u003eThe Three Cornered Hat. \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Although one cannot be absolutely certain, this could well be the first\n    time that a live performance of this de Falla by Cantelli has been issued\n    on CD. Perhaps some of the scoring does not emerge with maximum clarity –\n    let us face it, there is always a lot going on – but it is an enjoyable\n    performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Concert on 13 March 1955 given in Carnegie Hall, New York\n    \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n        \u003c\/span\u003eVivaldi (1678-1741): Concert Grosso in D minor, Op.3 No.11 RV 565\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    The author was 22 before he heard a note of Vivaldi and this was in one of\n    Cantelli’s early concerts in London’s Royal Festival Hall. My reaction was\n    that this was fantastic music. The abiding memory is that management had a\n    separated print slip inserted in the programme note explaining that the\nVivaldi was in fact four three-movement concertos: it was, of course,    \u003cem\u003eThe Seasons.\u003c\/em\u003e The point is that this music was new and continued to\n    be so for the majority of concert-goers for a considerable time. The reason\n    for this preamble is that our knowledge of performance practice for the\n    music of the 17\u003csup\u003eth\u003c\/sup\u003e and 18\u003csup\u003eth\u003c\/sup\u003e centuries has changed out\n    of all recognition from the 1950s. Cantelli only had seven of Vivaldi’s\n    concertos in his repertoire (that is if one counts \u003cem\u003eThe Seasons \u003c\/em\u003eas\n    four). The performance of this concerto reflects accurately how Vivaldi was\n    played at the time. It sounds as if Cantelli had a substantial body of\n    strings which would not be the case today. But before this performance is\n    dismissed one should bear in mind that if one wanted to hear Vivaldi in the\n    mid-1950s this was how it was presented.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        Beethoven (1770-1827): Piano Concerto No.3 in C minor, Op.37\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli conducted four of Beethoven’s piano concertos and only the second\n    was absent. He collaborated with four pianists for this concerto: the first\n    was with Eduardo del Pueyo and the Orchestra del Maggio Musicale Fiorentino\n    on 26 January 1947; the second was with Friedrich Gulda and the Orchestra\n    del Theatre Comunale di Bologna on 20 February 1948; next was Rudolf\n    Firkušný (playing on this CD) and finally Arthur Rubinstein given with the\nOrchestra della Scala on 25 and 26 October 1956 together with the    \u003cstrong\u003e\u003cem\u003eEmperor\u003c\/em\u003e\u003c\/strong\u003e! Firkušný may not be a name which\n    resonates the same way as Arrau, Backhaus, Gieseking, Gulda, Casadesus or\n    Serkin (all of whom played Beethoven’s concertos with Cantelli) but the\n    fact is that he collaborated more often with Cantelli than any other\n    pianist and these co-operations, in alphabetical order, involved the\n    Beethoven 3\u003csup\u003erd( \u003c\/sup\u003e(3); the Brahms 1\u003csup\u003est \u003c\/sup\u003e(3); the Dvorák\n    (2); the Grieg (6) and the Menotti – the Grieg and the Menotti were\n    Cantelli’s only performances.\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli’s contribution is nigh on ideal as far as the tempi and balances\n    are concerned and one should be aware that he had only performed the\n    concerto twice before as mentioned above. What is particularly noticeable\nis the relish that Cantelli sets for the opening    \u003cem\u003eAllegro con brio. \u003c\/em\u003eThe soloist and conductor integrate their\n    conception which was to be expected from their long association. Perhaps it\n    would be fair to say that Firkušný’s finger work is not as always as clear\n    as one would expect in the 21\u003csup\u003est\u003c\/sup\u003e century (is it the recording?)\n    but one would be pernickety to make too much of that. It is a case of\n    excellent being an enemy of the good.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003ePiston (1894-1976): Toccata\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Although Cantelli only performed this eight-minute piece three times he had\n    a complete grasp of both the rumbustious elements and the quieter moments.\n    The composer heard the broadcast recorded on this CD and he wrote to\n    Cantelli the same day in his somewhat unidiomatic Italian (Piston’s\n    grandfather was actually Italian).\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 50px;\"\u003e\n    \u003ci\u003eDear Maestro,\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\u003cem\u003e\n    \u003ci\u003eI have listened to my Toccata\u003cstrong\u003e \u003c\/strong\u003e\u003c\/i\u003e\u003c\/em\u003eon the radio and I\n    want to tell you what great pleasure your\u003cbr\u003eperformance gave me. It was all a composer can hope for and I am very\n    grateful too for\u003cbr\u003eyour sense of rhythm, your enthusiasm and your wonderful performance.\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    I also want to thank you for including the music of two contemporary\n    American composers\u003cbr\u003eIn your programme.\n\n\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    I hope that you will accept the kind regards of your devoted\n\u003c\/i\u003e\u003c\/p\u003e\u003ci\u003e\n\u003c\/i\u003e\u003cp style=\"margin-left: 50px;\"\u003e\u003ci\u003e\n    Walter Piston\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Is there anything nothing more to be said.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCopland (1900-1990): El Salón México\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    When Copland paid his first visit to Mexico in 1932 he visited – to use his\n    own words – a “hot spot” and conceived the notion of writing music which\n    reflected the spirit he experienced in the Salón México. Copland considered\n    – quite rightly – that as a tourist he did not have enough knowledge to\n    write a piece which reflected the more profound side of the country. His\n    composition would consist of melodies which were connected in his mind with\n    his experience in that dance hall. In a note that Copland published in his\n    recording with the New Philharmonia Orchestra in 1972 he mentioned that\n    practically all the themes came from the \u003cem\u003eCancionero Mexicano \u003c\/em\u003eby\n    Francis Toor or the erudite \u003cem\u003eEl Folk-lore y la Música Mexicana \u003c\/em\u003eby\n    Ruben M. Campos\u003cem\u003e. \u003c\/em\u003eCopland wrote “It wasn’t the music I heard, but\n    the spirit is what I hope to have put in my music.”\n\u003c\/p\u003e\n\u003cp\u003e\n    As so often with Cantelli, although he first conducted this piece during\n    the March 1955 subscription concerts, he grasps the contents as though he\n    had known the piece all his life. He later gave two more performances with\n    this orchestra and – more surprisingly – two with the Orchestra del Teatro\n    alla Scala. It is another recording that should be in anyone’s Cantelli\n    discography.\n\u003c\/p\u003e\n\u003cp\u003e\n    Keith Bennett © 2017\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e† This is in the publication ‘        \u003cem\u003eCantelli – Just eight years of Fame’\u003c\/em\u003e. Contact\n    \u003c\/strong\u003e\n    \u003ca href=\"mailto:keith.bennett@zen.co.uk\"\u003e\n        \u003cstrong\u003ekeith.bennett@zen.co.uk\u003c\/strong\u003e\n    \u003c\/a\u003e\n    \u003cstrong\u003e\n        for further information. The recording of Vivaldi’s\u003cem\u003e Seasons\u003c\/em\u003e\n        with the Philharmonic-Symphony Orchestra of New York has been\n        remastered by Mark Obert-Thorn and is available on Pristine Audio \u003c\/strong\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc176\" target=\"_blank\"\u003ePASC        176\u003c\/a\u003e\u003cstrong\u003e.\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":36677574989,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205556748622,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205556781390,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC501_f715f769-6cff-4370-bd4f-430af82ee692.jpg?v=1493362962"},{"product_id":"pasc501-cd","title":"CANTELLI in New York, Vol. 1: Haydn, Mozart, Ravel, Falla, Vivaldi, Beethoven, Piston, Copland (1955) - PASC501 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478420301,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":55205556715854,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC501_433e8c74-907a-4973-91cc-6cb09ff0e479.jpg?v=1658744412"},{"product_id":"pacm103","title":"OSSY RENARDY The Complete Remington Recordings (1953) - PACM103","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePAGANINI  \u003c\/b\u003e24 Caprices\n\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003eViolin Sonata in A\n\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eViolin Sonata No. 2 in G\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 49:22\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOssy Renardy, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eEugene Helmer, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eEugene List, \u003c\/b\u003epiano\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe short-lived Austrian violinist Ossy Renardy enjoys a fine restoration in his Remington legacy.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe name of Viennese violin luminary Ossy Renardy (nee Oskar Reiss, \n1920-1953) may invoke the image of a “fingerboard gymnast,” compelled to\n play spectacular showpieces and flamboyant repertory, but he had \ngleaned respect for his formidable technique and sensitive \ninterpretations, often likened to his compatriot, Fritz Kreisler.  \nRenardy died in a car crash, only just having begun to reap the repute \nhis hard work and commitment had earned. The decision to record the \ncomplete Paganini \u003ci\u003eCaprices\u003c\/i\u003e in the Ferdinand David edition, with \n(an anachronistic) piano accompaniment, comes as a result of Renardy’s \nhaving performed this version in 1940, and here again in 1953, for Don \nGabor’s Remington label. Ruggiero Ricci would perform the pieces in \ntheir solo capacity—in 1947—but Renardy must have felt that the popular \nconsensus would favor the “enriched” harmonization between him and \nEugene Helmer. Francescatti must have agreed with the aesthetic, as had \nHeifetz. The young Michael Rabin, however, dared to play caprices solo. \nThe technique revealed by Renardy in these 24 grueling exercises \ncertainly impresses, as much for a capacity for poetry as for consummate\n digital skills.  Renardy handles the various challenges confronting \nhim: wide-spaced notes requiring the musician to glide between the \noutside notes; a “skipping bow”; a sostenuto string in tandem with rapid\n trills and harmonies in another; bowing to imitate flute and horn \nsonority; chromatic runs, trills, and guitar-based arpeggios; and the \nmaintenance of brilliant speed and graceful articulation at all times.\u003c\/p\u003e\u003cp\u003eFor pure musicianship sans ostentatious bravura, the two French works\n with pianist Eugene List provide a refreshed tonic. The Franck \u003ci\u003eSonata \u003c\/i\u003eenjoys\n a patrician line, edgy perhaps in a way that sides more with Ricci than\n with Grumiaux, but elegant nevertheless.  The second movement \u003ci\u003eAllegro\u003c\/i\u003e achieves some daredevil pyrotechnics, while the \u003ci\u003eRecitativo-Fantasia\u003c\/i\u003e basks in concentrated mystery. The Ravel \u003ci\u003eSonata\u003c\/i\u003e (1923-27)\u003ci\u003e \u003c\/i\u003eclaims\n an “antagonistic” aesthetic for the two instruments, the composer \nconvinced that the violin and piano provide surrogates for saxophone and\n guitar. Renardy seems to enjoy a natural affinity for the feisty piece,\n whose second movement, \u003ci\u003eBlues: Moderato\u003c\/i\u003e assumes a decided, cabaret earthiness. The last movement asks Renardy to play \u003ci\u003esul ponticello\u003c\/i\u003e\n in the midst of whirling filigree, and he accommodates our virtuoso \nexpectations. The restorations, from the sure hand of veteran Mark \nObert-Thorn, project an immediacy of effect that assaults the ear: I \nthink of the\u003ci\u003e Caprice No. 9 in E.\u003c\/i\u003e \u003ci\u003eNo. 13 in B-flat, \u003c\/i\u003eand \u003ci\u003eNo. 16 in g minor \u003c\/i\u003eas cases in point and the easy elegance of the round that defines Franck’s final movement.\u003c\/p\u003e\u003cp\u003ePersonally, I would like to see the entire Remington archives restored with same luster and care that this fine set delivers.\u003c\/p\u003e\u003cp\u003e—\u003cb\u003eGary Lemco\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM103.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Ossy Renardy was born Oskar Reiss in Vienna on April 26, 1920. Except for\n    some early training given by a neighbor, he was self-taught. He first\n    played publicly at the age of eleven, and two years later toured Italy with\n    a troupe of variety entertainers. His manager suggested that he adopt “Ossi\n    Renardi” as a more Italian-sounding name, which the violinist later amended\n    when he returned to Vienna. Victor de Sabata heard him perform in Milan in\n    1934, and invited him to play as soloist with the Vienna Philharmonic,\n    which launched his international career.\n\u003c\/p\u003e\u003cp\u003e\n    He made his American début at a Town Hall recital in New York in January,\n    1938. Two months later, a few weeks before his 18th birthday, he entered\n    the Columbia studios to make his first recordings (reissued on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc383\" target=\"_blank\"\u003ePristine    PASC 383\u003c\/a\u003e). In October of 1939, he caused a sensation at Carnegie Hall by\n    performing all of the Paganini Caprices in the version with piano\n    accompaniment by Ferdinand David. Early in the following year he went over\n    to the Victor label, where he made the première recording of the complete\n    set of Caprices as well as several short encores (on Biddulph LAB 061-62,\n    nla).\n\u003c\/p\u003e\u003cp\u003e\n    America’s entry into World War II saw Renardy take up American citizenship\n    and join the Army, where he played 490 USO concerts for servicemen. After\n    the war, he recovered from this punishing schedule by taking two years off\n    from concertizing. Renardy signed with British Decca in 1948, where his\n    first recording (and his only one with orchestra) was the Brahms Concerto\n    with Munch and the Concertgebouw (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc013\" target=\"_blank\"\u003ePristine PASC 013\u003c\/a\u003e). He followed this up\n    over the next three years with recordings of two unaccompanied Bach Sonatas\n    and a selection of encores, most of which have been reissued on Testament\n    SBT 1292.\n\u003c\/p\u003e\u003cp\u003e\n    In the summer of 1953, two years after his last Decca sessions, Renardy\n    made what were to be his final recordings for Remington in New York.\n    Remington was a budget label which specialized in artists in the twilight\n    of their careers (Spalding, Dohnányi), so it was unusual for someone still\n    in his prime to record for them. In the event, these final recordings show\n    the violinist in excellent form, aided by superb engineering.\n\u003c\/p\u003e\u003cp\u003e\n    Renardy chose to remake the Paganini Caprices, still with the David piano\n    accompaniment even three years after Ruggiero Ricci had made the first\n    complete recording in the composer’s original solo version. (The LP covers\n    claim that Renardy was playing Paganini’s own Joseph Guarnerius “Cannon”,\n    but it is now believed that he used a replica.) The performances are more\n    assured than his earlier set, reflecting his growth as an artist. Arguably\n    even better is the coupling of two French violin sonatas, where Renardy is\n    partnered not with his usual accompanist, but with rising star Eugene List.\n\u003c\/p\u003e\u003cp\u003e\n    Renardy died in an automobile accident while leaving a recital in New\n    Mexico on December 3, 1953. \u003cem\u003eGramophone\u003c\/em\u003e’s obituary published the\n    following March stated, “At thirty-three he seemed destined to don the\n    mantle of his compatriot Kreisler, whose style of playing was not\n    dissimilar.” Now, with nearly all of his commercial recordings having been\n    reissued on CD, a fuller measure of his remarkable artistry can finally be\n    taken.\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\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    \u003cstrong\u003eOSSY RENARDY  The Complete Remington Recordings\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cstrong\u003eEugene Helmer and Eugene List (piano)\u003c\/strong\u003e\n\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eStudio Recordings ∙ 1953\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \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\u003eCD 1 (67:09)\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\u003ePAGANINI: Caprices, Op. 1 \u003c\/strong\u003e\n    (Piano accompaniment by Ferdinand David)\n\u003c\/p\u003e\n\u003cp\u003e\n    1 No. 1 in E major (1:42)\u003cbr\u003e2 No. 2 in B minor (2:32)\u003cbr\u003e3 No. 3 in E minor (2:39)\u003cbr\u003e4 No. 4 in C minor (5:13)\u003cbr\u003e5 No. 5 in A minor (2:24)\u003cbr\u003e6 No. 6 in G minor (3:35)\u003cbr\u003e7 No. 7 in A minor (3:09)\u003cbr\u003e8 No. 8 in E flat major (2:35)\u003cbr\u003e9 No. 9 in E major (2:44)\u003cbr\u003e10 No. 10 in G minor (2:06)\u003cbr\u003e11 No. 11 in C major (4:06)\u003cbr\u003e12 No. 12 in A flat major (2:40)\u003cbr\u003e13 No. 13 in B flat major (2:49)\u003cbr\u003e14 No. 14 in E flat major (1:11)\u003cbr\u003e15 No. 15 in E minor (2:20)\u003cbr\u003e16 No. 16 in G minor (1:34)\u003cbr\u003e17 No. 17 in E flat major (3:28)\u003cbr\u003e18 No. 18 in C major (2:02)\u003cbr\u003e19 No. 19 in E flat major (2:25)\u003cbr\u003e20 No. 20 in D major (3:29)\u003cbr\u003e21 No. 21 in A major (2:32)\u003cbr\u003e22 No. 22 in F major (2:26)\u003cbr\u003e23 No. 23 in E flat major (3:14)\u003cbr\u003e24 No. 24 in A minor (4:16)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eEugene Helmer (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    First issued on Remington R-199-146 (Nos. 1-12) and R-199-152 (Nos. 13-24)\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\u003eCD 2 (42:17)\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 FRANCK: Violin Sonata in A major\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1 1st Mvt.: Allegretto ben moderato (5:23)\u003cbr\u003e2 2nd Mvt.: Allegro (7:43)\u003cbr\u003e3 3rd Mvt.: Ben moderato: Recitativo – Fantasia (6:08)\u003cbr\u003e4 4th Mvt.: Allegretto poco mosso (5:49)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRAVEL: Violin Sonata No.2 in G major\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    5 1st Mvt.: Allegretto (7:32)\u003cbr\u003e6 2nd Mvt.: Blues: Moderato (6:06)\u003cbr\u003e7 3rd Mvt.: Perpetuum Mobile: Allegro (3:35)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eEugene List (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    First issued on Remington R-199-148\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\u003eOssy Renardy (violin)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded Summer, 1953 at the Mastertone Recording Studios, New York City\n\u003c\/p\u003e\n\u003cdiv\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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broadcast performances, 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:20\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCharles Holland, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eWalter Scheff, \u003c\/b\u003ebaritone\u003cb\u003e\u003cbr\u003eMarc Blitzstein,\u003c\/b\u003e The Monitor (narrator)\u003cb\u003e\u003cbr\u003eLeonard Bernstein, \u003c\/b\u003epiano\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra \u0026amp; Chorus\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeonard Bernstein\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC526.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis is the first of two volumes of previously unreleased broadcast performances by Leonard Bernstein (1918-1990) from the 1940s. In this volume we find him as guest conductor in two broadcasts from the late spring of 1946 with the NBC Symphony Orchestra and a male chorus which might be assumed to be drawn from the Robert Shaw Chorale, though I cannot yet confirm this.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe first concert broadcast took place on 27 May and consisted solely of the \u003ci\u003eAirborne Symphony \u003c\/i\u003eby Marc Blitzstein (1905-1964). As our sleevenotes explain, Blitzstein originally wrote the work as an airman stationed in the UK during the Second World War, and rewrote it at the insistence of Leonard Bernstein having lost it at the end of the war. This was its second performance - Bernstein went to record it twice, with Orson Welles providing narration in both instances. Here we hear the composer himself as\"The Monitor\" alongside the same soloists, Charles Holland and Walter Scheff, who had premièred the work and would go on to make the first recording with Bernstein shortly afterwards.\u003c\/p\u003e\u003cp\u003eThe recording was preserved well on acetate discs, with a relatively broad frequency range and quiet surfaces, though there is some tendency to mild high frequency distortion at peaks during the music, which I've attempted to subdue whilst retaining as much of the upper \"air\" as possible. Comparison with the 1960s recording of the \u003ci\u003eAirborne Symphony\u003c\/i\u003e indicates that either some revision of the piece took place after the earlier performance or a handful of minor cuts were made for broadcast purposes.\u003c\/p\u003e\u003cp\u003e(Further information on the \u003ci\u003eAirborne Symphony\u003c\/i\u003e can be found here: \u003ca href=\"http:\/\/marc-blitzstein.org\/work\/airborne-symphony\/)\"\u003ehttp:\/\/marc-blitzstein.org\/work\/airborne-symphony\/\u003c\/a\u003e\u003ca href=\"http:\/\/marc-blitzstein.org\/work\/airborne-symphony\/\" target=\"_blank\"\u003e\u003c\/a\u003e)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBernstein's concert of 2 June 1946 featured three works, of which time permits us here to include only two. The missing work was a performance of Haydn's \u003ci\u003eSymphony No. 102\u003c\/i\u003e, and it is to be hoped we can find a home for this at some point during this Bernstein centenary year.\u003c\/p\u003e\u003cp\u003eWhat we can hear is a unique recording of a short piece by prolific composer and radio producer Don Gillis entitled \u003ci\u003eMotor Perpetuo\u003c\/i\u003e, something of a play on words as it's based on an old popular tune\u003ci\u003e In My Merry Oldsmobile\u003c\/i\u003e. We have struggled in vain to find any other reference to a performance of this piece, let alone a recording, though we know from the radio announcement that this was its world première. One might tentatively suggest that Mr. Gillis might have had a number of short works like this up his sleeve for moments when a short orchestral work was needed to pad out a radio broadcast.\u003c\/p\u003e\u003cp\u003eIn both this and the final piece, Ravel's \u003ci\u003ePiano Concerto in G\u003c\/i\u003e, a certain amount of gain riding was taking place in the radio control room, leading to variations in volume which I've attempted to reverse. However there are moments, especially at the beginning of the second movement in the Ravel, where Bernstein's piano almost seems to vanish into the background. I've done what I can to counter this but listeners should be aware that there are a few notes which are particularly faint. That said, the overall sound quality is once again good, with perhaps a little less of the distortion present in the previous week's broadcast.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBLITZSTEIN  \u003c\/b\u003eAirborne Symphony\u003c\/span\u003e\u003cbr\u003e1. Part One - The Theory of Flight  (4:36)\u003cbr\u003e2. Ballad of History and Mythology  (4:24)\u003cbr\u003e3. Kittyhawk  (2:44)\u003cbr\u003e4. The Airborne  (1:40)\u003cbr\u003e5. Part Two - The Enemy  (4:17)\u003cbr\u003e6. Threat and Approach  (2:20)\u003cbr\u003e7. Ballad of the Cities  (7:10)\u003cbr\u003e8. Morning Poem  (1:17)\u003cbr\u003e9. Part Three - Air Force: Ballad of Hurry-Up  (6:44)\u003cbr\u003e10. Night Music: Ballad of the Bombardier  (4:53)\u003cbr\u003e11. Recitative: Chorus of the Rendezvous  (2:08)\u003cbr\u003e12. The Open Sky (Finale)  (7:14)\u003cbr\u003e\u003cb\u003eCharles Holland\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eWalter Scheff\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eMarc Blitzstein\u003c\/b\u003e, The Monitor (narrator)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e13. \u003cb\u003eGILLIS \u003c\/b\u003eMotor Perpetuo  (4:42)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL  \u003c\/b\u003ePiano Concerto in G major\u003c\/span\u003e\u003cbr\u003e14. 1st mvt. - Allegramente  (7:32)\u003cbr\u003e15. 2nd mvt. - Adagio assai  (9:01)\u003cbr\u003e16. 3rd mvt. - Presto  (3:38)\u003cbr\u003e\u003cb\u003eLeonard Bernstein\u003c\/b\u003e   piano\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u0026amp; Chorus    \u003cbr\u003eLeonard Bernstein, \u003c\/b\u003econductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leonard Bernstein\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlitzstein Airborne Symphony\u003c\/b\u003e\u003cbr\u003eBroadcast of 27 May, 1946\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGillis Motor Perpetuo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRavel Piano Concerto\u003c\/b\u003e\u003cbr\u003eBroadcast of 2 June, 1946\u003cbr\u003e\u003cbr\u003eTotal duration:  74:20\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\/PASC526.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC526.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003ca name=\"OLE_LINK2\"\u003e\u003c\/a\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\n        2018 marks the centenary of the birth of Leonard Bernstein, who remains\n        well known as both a conductor and a composer. Some famous conductors\n        composed a little (Furtwängler or Walter for example) but their works\n        are rarely performed. Some prolific composers had glittering conducting\n        careers (Mahler and Richard Strauss spring to mind) but were not well\n        served by recordings. Bernstein made a large number of commercial\n        recordings, preserving his legacy as a conductor, and his most popular\n        works such as \u003cem\u003eWest Side Story\u003c\/em\u003e and \u003cem\u003eCandide\u003c\/em\u003e continue to\n        be regularly performed.\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Bernstein was one of the most influential American musicians of the\n    twentieth century. He had a long association with the New York\n    Philharmonic, including a spell as musical director in the 1960s, making\n    his conducting debut as a last minute replacement for Bruno Walter in 1943.\n    Throughout his conducting career, and perhaps because he himself was a\n    composer, Bernstein programmed a large amount of contemporary American\n    music. It is entirely appropriate, therefore, that this release includes\n    two such pieces, followed by a third showcasing Bernstein as performer.\n\u003c\/p\u003e\n\u003cp\u003e\n    Marc Blitzstein wrote much of his \u003cem\u003eAirborne Symphony\u003c\/em\u003e while on\n    active service in London during World War II. This largely choral work\n    charts the history of human flight, and was closely associated with\n    Bernstein from the beginning. Much of the original score was lost when\n    Blitzstein returned to the USA after the war and it was Bernstein who\n    persuaded the young composer to write it out again. Bernstein premièred the\n    work with the New York City Symphony on 1 April 1946, broadcast on the\n    local WNYC station. These forces would record the symphony commercially\n    later the same year, but before doing so Bernstein conducted it with the\n    NBC Symphony Orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    The work is in three movements. The first movement contains a brief history\n    of flight, the second explores the impact of German air power during WWII,\n    and the third depicts the Allied Air Force as ultimately triumphant. While\n    obviously a product of its times, and reflecting its composer’s personal\n    experiences, the work is actually not that jingoistic. The terrible\n    destructiveness of airpower is not something to used lightly, Blitzstein\n    warns, but only in the most severe times.\n\u003c\/p\u003e\n\u003cp\u003e\n    Don Gillis is perhaps best known as the producer of the NBC symphony\n    broadcasts between 1944 and 1954, but he was also a prolific composer. His\nbest known, and most often performed work, is the unusually titled    \u003cem\u003eSymphony No 5½\u003c\/em\u003e but several of his other compositions were\n    performed by the New York Philharmonic, the Boston Symphony and the NBC\n    Symphony during the 1940s and 50s. ‘\u003cem\u003eMotor Perpetuo\u003c\/em\u003e’ was based on a\n    popular tune ‘\u003cem\u003eIn my merry Oldsmobile\u003c\/em\u003e’ written by Gus Edwards in\n    1905. It is a tribute to America’s love affair with the automobile,\n    something that has not changed in the seventy years since it was written.\n    This broadcast with the NBC Symphony is the single known performance of\n    this short work, and there is some slight confusion over the title.\nMortimer Frank’s book on the NBC Symphony lists the title as ‘    \u003cem\u003eMoto Perpetuo\u003c\/em\u003e’ or perpetual motion, but the original manuscript\n    copy, in the library of the University of North Texas, confirms that the\n    actual title is the more amusing ‘\u003cem\u003eMotor Perpetuo\u003c\/em\u003e’.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ravel’s \u003cem\u003ePiano Concerto in G\u003c\/em\u003e, although by a French composer, should\n    perhaps be considered as an American work. Written between 1929 and 1931\n    following Ravel’s visit to the United States, it is clearly influenced by\n    the contemporary American music he heard (most obviously Gershwin), but\n    also by jazz. Bernstein plays the piano as well as leading the orchestra,\n    at the time a relatively unusual thing for a conductor to do. Bernstein\n    recorded the work several times during his career, the first of which would\n    be just a few weeks after this live broadcast but with the Philharmonia\n    Orchestra in London.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":6885785567293,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205548196174,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205548228942,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC526.jpg?v=1519730858"},{"product_id":"pasc526-cd","title":"BERNSTEIN in the 1940s Volume 1: Blitzstein, Gillis, Ravel (1946) - PASC526 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":6885398577213,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205548163406,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC526_342b9090-3798-41ce-a1b5-7c359f7478cb.jpg?v=1658745235"},{"product_id":"pabx024","title":"COATES The Pristine Collection - transfers by Ward Marston (1921-30) - PABX024","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBACH (arr Elgar)\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Fantasia and Fugue in C minor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Gratulations-Menuett\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Creatures of Prometheus - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 9 'Choral'\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Symphony No. 5 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Francesca da Rimini\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBORODIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Prince Igor - Ballet \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Symphony No. 41, 'Jupiter'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Der Schauspieldirektor - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Symphony No. 6, \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e March Slave\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Romeo and Juliet Fantasy Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGLINKA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ruslan and Lyudmila Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Coq d'Or - suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Firebird Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMusic by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Glinka, Liadov, Debussy\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Petrushka Ballet\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBORODIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Prince Igor - excerpts\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e May Night - Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMUSSORGSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC296.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Beethoven and Bach (1925\/28) - PASC296\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAlbert Coates - one of the great pioneering British conductors\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeginning our Coates season from Ward Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eIntroduction to our Albert Coates series:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAbout five years ago I travelled to the UK for a couple of days in order to meet up with the then editor of Gramophone (and now editor-in-chief), James Jolly. The main subjects of discussion were proposals for the Gramophone website and the possibility of a tie-in with the National Gramophonic Society recordings, a good number of which Gramophone had in storage with EMI.\u003cbr\u003e\u003cbr\u003eAt the end of our long lunch, with various ideas talked through, our discussion started to range a little wider, and James touched on a name he was really keen to hear more of: Albert Coates. I must admit that at the time I had very little awareness of Coates, but some research revealed him to be one of the greatest and most forward-looking British conductors of his day, a leading Wagnerian, and perhaps as a result of being Russian-born (to an English father), someone with a strong affinity to Russian music.\u003cbr\u003e\u003cbr\u003eIn 1919 he was appointed chief conductor to the London Symphony Orchestra, and began to make recordings with them for the Columbia Record Company in London. However, a decision by Coates to switch allegiances to HMV a couple of years later led to a number of recordings coming out during the 1920s listing him as conductor of an anonymous orchestra - which was almost certainly comprised largely of \"moonlighting\" members of the LSO.\u003cbr\u003e\u003cbr\u003eThus his electrical recording of Beethoven's 9th, one of, if not the first microphone recording of the symphony, appeared in 1926 without proper credit, and is still excluded from the main body of the LSO's official discography - and we thus cannot be 100% sure of the precise make-up of the orchestra that does play, though it is listed in an appendix as being the LSO. By 1927 HMV had bagged the LSO and normal service was resumed for a while, though his contract with the orchestra had expired in 1922 and from then on he had no permanent conducting post. He relocated to the US during World War II and thereafter to South Africa, where he died in 1953. \u003cbr\u003e\u003cbr\u003eAlthough Coates continued to record on and off until 1945, it might be well-argued that his major contributions to the recorded canon took place during the 1920s, and it is this period which we're concentrating on in a major series put together by Ward Marston, versions of some of which may have been circulating amongst collectors, but which is seeing its first formal, commercial issue here on Pristine. \u003cbr\u003e\u003cbr\u003eThe series will bring together both electrical and acoustic recordings and is initially running to 6 volumes, with a possible further three later this year or in 2012.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose, from Pristine Newsletter, 8th July 2011\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eNB. The present recording of Beethoven's Symphony No. 9 has a significant cut partway into the third movement, similar or possibly identical to a cut Coates used in his earlier, acoustic recording of the symphony. The work is otherwise complete and uncut.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Mozart and Beethoven (1921-24) - PASC298\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAlbert Coates - complete Mozart 'Jupiter' and Beethoven 7th\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eRare acoustic recordings in excellent new transfers by Ward Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cp class=\"bodybigblue\"\u003e\u003cbr\u003eUntangling the Beethoven Symphony No. 7 issues\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFor this reissue, I transferred the six sides of 1921 from the Victor issue, and the 1922 remakes of movements 3 and 4 from the French W series issue:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eMovement I\u003c\/strong\u003e: 25 October 1921; (Cc589-1, Cc590-2) \u003cem\u003eassigned HMV catalogue number D604 but only published on Victor 55165 and later on French HMV W437.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement II\u003c\/strong\u003e: 25 October 1921; (Cc591-2, Cc592-2) \u003cem\u003eassigned HMV catalogue number D605 but only published on Victor 55166 and later on French HMV W438.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement III (abridged)\u003c\/strong\u003e: 25 October 1921; (Cc593-1);\u003cem\u003e assigned HMV catalogue number D606 but only published on Victor 55173.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV (abridged)\u003c\/strong\u003e: 28 October 1921; (Cc605-3) \u003cem\u003eassigned HMV catalogue number D606 but only published on Victor 55173. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eRemakes of 3rd and 4th movements\u003c\/strong\u003e, each complete on 2 sides:\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMovement III\u003c\/strong\u003e: 17 November 1922; (Cc2166-2, Cc2167-2) \u003cem\u003eassigned HMV catalogue number D927 but only published on French HMV W480.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV\u003c\/strong\u003e: 17 November 1922; (Cc2168-2, Cc2169-2) \u003cem\u003eassigned HMV catalogue number D928 but only published on French HMV W481.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe HMV files give assigned D series numbers to both recordings as I have indicated, but I don't think they were ever issued. The 1921 six sided version of the symphony was issued on blue label Victor 55165 55166 and 55174. In 1924, HMV planned to issue the first 2 movements from 1921, along with the remakes of the 3rd and 4th movements. It was never issued in England, but years ago, I discovered quite by accident having found a copy, that French HMV had issued it on W 437, 438, 480, and 481.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eWard Marston\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAlbert Coates: Tchaikovsky's Pathétique Symphony and more\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Fine transfers ensure that Coates’ message comes across loud and clear.\"\u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThe Pathetique symphony is transferred from quiet \nItalian pressings, the only set of quiet pressings I have ever seen - \nlate 1930s Italian VDP pressings which yield far quieter surfaces than \ndomestic HMV pressings. This recording has wonderfully ambient sonics \nbut very little low frequency content, The reason being that the \nperformance was transmitted over phone line from Kingsway Hall to Small \nQueen’s hall. I did what I could to boost the lower frequencies. One can\n hear that sides 2 and 5 were recorded under different conditions than \nthe rest of the recording. One can also hear some low frequency \nelectronic noises during the final side.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Romeo and Juliet, with the Glinka filler, was only \nissued on Czech HMV. I have only seen 3 sets in 30 years and my set is \nthe only one of the three that has no blasting on the loud passages. VDP\n numbers AW46-48 are listed in Alan Kelly's compilation files, but I \nhave not heard of a copy in circulation. The March Slav is also very \nscarce.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"body\"\u003eWard Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Beethoven and Bach (1925\/28) - PASC296\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBACH (arr Elgar)\u003c\/strong\u003e - Fantasia and Fugue in C minor, BWV 537\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 11 and 12 October 1928 \u003cbr\u003eIssued on HMV D1560\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e*BEETHOVEN\u003c\/strong\u003e - Gratulations-Menuett, WoO 3\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 October 1925 \u003cbr\u003eIssued on Victor 9048\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e The Creatures of Prometheus - Overture , Op. 43 \u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 6 January 1927\u003cbr\u003eIssued on HMV D1163\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e*\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 9 in D minor, Op. 125 \"CHORAL\"\u003c\/span\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003eRecorded 14, 15 and 19 October 1926\u003cbr\u003eTransferred from Z shellac Victor pressings 9061-68 (except final disc, from a Victor Orthographic pressing)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003eElsie Suddaby\u003c\/strong\u003e, soprano \u003cbr\u003e\u003cstrong\u003eNellie Walker\u003c\/strong\u003e, contralto \u003cbr\u003e\u003cstrong\u003eWalter Widdop\u003c\/strong\u003e, tenor \u003cbr\u003e\u003cstrong\u003eStuart Robinson\u003c\/strong\u003e, bass \u003cbr\u003e\u003cstrong\u003ePhilharmonic Choir\u003c\/strong\u003e (dir. Charles Kennedy Scott)\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e(*Credited to Symphony Orchestra, probably members of LSO) \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eSpecial thanks to Richard Kaplan for supply of original 78s used in this transfer \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  78:04 \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Russian Music (1922-24) - PASC297\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e - Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 October, 3 \u0026amp; 17 November, 22 December 1922 \u003cbr\u003eIssued on HMV D759-764\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e - Francesca da Rimini - Symphonic Fantasy after Dante, Op 32 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 \u0026amp; 24 October 1924\u003cbr\u003eIssued on HMV D951-952\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBORODIN\u003c\/strong\u003e - Prince Igor - Ballet \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Prince_Igor\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Prince_Igor_%28Borodin,_Alexander_Porfirevich%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 18 October 1923\u003cbr\u003eIssued on HMV D795\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eThe Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e(Credited to The Symphony Orchestra, probably members of London Symphony Orchestra)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTotal duration: 68:50\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Mozart and Beethoven (1921-24) - PASC298\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART\u003c\/strong\u003e - Symphony No. 41 in C, K.551 \"JUPITER\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 27 August and 16 October 1923\u003cbr\u003eIssued on HMV D942-45\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART \u003c\/strong\u003e- Der Schauspieldirektor, K486 - Overture\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 \u0026amp; 24 October 1924\u003cbr\u003eIssued on HMV D951-952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e - Symphony No. 7 in A, Op. 92 \u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 \u0026amp; 28 October 1921\u003cbr\u003eIssued on Victor 55165, 55166, 55173\u003cbr\u003e3 \u0026amp; 4 re-recorded 17 November 1922\u003cbr\u003eIssued on French HMV W480, W481\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eThe Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e(Credited to The Symphony Orchestra, probably members of London Symphony Orchestra)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTotal duration: 70:41\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 in B minor, Op. 74 \"Pathétique\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003eRecorded 15 September 1926 \u0026amp; 6 January 1927. \u003cbr\u003eIssued on English HMV D1190-94, on VDP AW148-152, Gramola ES232-236, and Electrola EJ116-120\u003cbr\u003eMatrices:\u003cbr\u003eMovement I: CR665-2A, CR666-3, CR667-2, CR668-2.\u003cbr\u003eMovement II: CR669-2A, CR670-1.\u003cbr\u003eMovement III: CR671-1, CR672-1.\u003cbr\u003eMovement IV: CR673-1A, CR674-1A \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e March Slave Op. 31\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003ematrices Cc20616-2 and Cc20617-1; \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet Fantasy Overture\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003eMatrices: Cc13707-2, Cc13701-1, Cc13702-2, Cc13703-1, and Cc13704-1.\u003cbr\u003eissued only on Czech HMV  ES481-3.\u003cbr\u003eVDP numbers AW46-48 are listed in Alan Kelly's compilation files, but I have not heard of a copy in circulation. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmila Overtur\u003cem\u003ee\u003c\/em\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 17 October 1928\u003cbr\u003eIssued on HMV ES483\u003cbr\u003eMatrix Cc13723-2\u003cbr\u003e\u003cbr\u003eAll recordings: Kingsway Hall, London\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Russian and French music (1921-24) - PASC303\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmilla - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 5 May 1922; Matrix Cc1292-2; Issued on HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cbr\u003eRecorded 10 May and 14 July 1922.\u003cbr\u003eIssued on HMV D732-734.\u003cbr\u003eSide 1 recorded 14 July 1922; matrix Cc1307-4; HMV D732.\u003cbr\u003eSide 2 recorded 10 May 1922; matrix Cc1308-2; HMV D732.\u003cbr\u003eSide 3 recorded 10 May 1922; matrix Cc1309-2; HMV D733.\u003cbr\u003eSide 4 recorded 14 July 1922; matrix Cc1310-4; HMV D733.\u003cbr\u003eSide 5 recorded 14 July 1922; matrix Cc1659-1; HMV D734.\u003cbr\u003eSide 6 recorded 14 July 1922; matrix Cc1660-3; HMV D734.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e The Snow Maiden - Dance of the Tumblers\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 14 July 1922; matrix Cc1661-1; HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 24 and 29 October 1924. Issued on HMV D958 and 959.\u003cbr\u003eSide 1:\u003cb\u003e 1. Introduction – Kashchei's Enchanted Garden – Dance of the Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5298-1; HMV 958\u003cbr\u003eSide 2: \u003cb\u003e2. Supplication Of The Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5297-2; HMV D958.\u003cbr\u003eSide 3: \u003cb\u003e3. The Princesses' Game With The Golden Apples; 4. The Princesses’ Khorovod\u003c\/b\u003e\u003cbr\u003erecorded 24 October 1924; matrix Cc5291-1; HMV D959.\u003cbr\u003eSide 4: \u003cb\u003e5. Infernal Dance Of All Kashchei's Subjects\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5296-2; HMV D959.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Kikimora\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 28 October 1921; matrix Cc608-2; HMV D620\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Golliwog's Cakewalk from Children's Corner Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 25 April 1922; matrix Cc1243-2; HMV D620.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 November 1921, and 25 April 1922. Issued on HMV D708 and 709.\u003cbr\u003eSide 1, \u003cb\u003ePavane de la Belle au Bois Dormant; Petit Poucet.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc709-2; HMV D708.\u003cbr\u003eSide 2, \u003cb\u003eLaideronette, Impératrice des Pagodes.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc710-3; HMV D708.\u003cbr\u003eSide 3, \u003cb\u003eLes entretiens; De la Belle et de la Bête.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1241-3; HMV D709.\u003cbr\u003eSide 4, \u003cb\u003eLe Jardin Férique.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1242-2; HMV D709.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Rimsky, Mussorgsky, Borodin \u0026amp; Stravinsky (1926-30) - PASC304\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cbr\u003eRecorded 16 February 1928. matrices CR-1699-1A and CR-1700-1; \u003cbr\u003eHMV D1491. \u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e May Night - Overture\u003c\/span\u003e\u003cbr\u003eMatrix\n CR-2454-3, Recorded 8 October 1929, Queen’s Hall, transmitted by phone \nline to Small Queen’s Hall; matrix   Cc-17848-2, recorded 5 November \n1929, Hayes Main Studio. \u003cbr\u003eIssued on HMV D1744. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMUSSORGSKY\u003c\/b\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003cbr\u003eRecorded 7 May 1930, Queen’s Hall, transmitted by phone line to Small Queen’s Hall. \u003cbr\u003eMatrices CR-2486-2 and CR-2487-2; Issued on HMV D1855. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor - Overture\u003c\/span\u003e\u003cbr\u003eRecorded 26 October 1926, Kingsway Hall, transmitted by phone line to Small Qqueen’s Hall. \u003cbr\u003eMatrices CR-815-1 and CR-816-1;Issued on HMV D1210. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor – Ballet of the Polovetsian Maidens\u003c\/span\u003e\u003cbr\u003eRecorded\n 24 October 1927, Queen’s Hall, transmitted by phone line to Small \nQueen’s Hall; matrices CR-1554-1 and CR-1555-1A; Issued on HMV D1528. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Petrushka Ballet\u003c\/span\u003e \u003cbr\u003eRecorded\n 19 and 24 October 1927, Queen’s Hall, transmitted by phone line to \nSmall Queen’s Hall;; 5 January and 15 February 1928. Kingsway Hall; \ntransmitted by phone line to Small Queen’s Hall. \u003cbr\u003eIssued on HMV D1521-1524. \u003cbr\u003eThis set was also issued on Italian and Czech HMV as well as Electrola but never on Victor. \u003cbr\u003eThe matrix and date information is as follows: \u003cbr\u003eSide 1. CR-1542-2B (19 October 1927) \u003cbr\u003eSide 2. CR-1543-3A (5 January 1928) \u003cbr\u003eSide 3. CR-1544-1A (19 October 1927) \u003cbr\u003eSide 4. CR-1545-4 (15 February 1928) \u003cbr\u003eSide 5. CR-1546-1A (19 October 1927) \u003cbr\u003eSide 6. CR-1547-2 (15 February 1928) \u003cbr\u003eSide 7. CR-1552-1A (24 October 1927) \u003cbr\u003eSide 8. CR-1553-2 (24 October 1927) \u003cbr\u003e\u003cbr\u003eThe present transfer was made from mid-1930s Electrola pressings, EJ381-384. \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eElectric HMV recordings 1926-30\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 73:15\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116560109629,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205541314894,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC296.jpg?v=1769529760"},{"product_id":"pabx024-cd","title":"COATES The Pristine Collection - transfers by Ward Marston (1921-30) - PABX024 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs with case \u0026 artwork (+MP3)","offer_id":14116559978557,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":false},{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":55205541085518,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC296.jpg?v=1657122398"},{"product_id":"pasc578","title":"ORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLISZT \u003c\/b\u003eLes Préludes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé - Suite No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Ein Heldenleben\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENOTTI \u003c\/b\u003eAmelia Goes to the Ball - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eFirst Essay for Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSOUSA \u003c\/b\u003eWashington Post March\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSOUSA \u003c\/b\u003eThe Stars and Stripes Forever\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1936-42\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 16:00\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC578.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The present release is the first in a series devoted to Eugene Ormandy’s\n    early recordings with the Philadelphia Orchestra for the Victor and World’s\n    Greatest Music labels from 1936 through 1942, with one additional Victor\n    recording from 1945. While the recordings he made during this period with\n    such legendary soloists as Rachmaninov, Kreisler, Heifetz, Feuermann,\n    Rubinstein, Flagstad, Melchior and others have deservedly remained in the\n    catalog for decades, this series will focus on his purely orchestral\n    recordings, which have been rather overlooked in reissues. Several of the\n    works, like the Schumann, Menotti, Barber and Roy Harris items in this\n    release, were never re-recorded by the conductor in his long career, and\n    some have not been available since the 78 rpm era.\n\u003c\/p\u003e\n\u003cp\u003e\n    As a musician born and trained in Budapest, one would expect Ormandy’s\n    Liszt to be idiomatic and exciting, and so it is. All the more strange,\n    then, that he recorded \u003cem\u003eLes préludes\u003c\/em\u003e only once more, for Columbia\n    in 1946, and not at all in the LP era. Stranger still is his track record\n    with Schumann. The Second Symphony heard here was begun at his first\n    Philadelphia session in December, 1936 and completed the following month.\n    Prior to that, Ormandy had recorded the composer’s Fourth Symphony in\n    Minneapolis; but after the Second, he was to make no more Schumann symphony\n    recordings for the rest of his career, a particular loss given the strong\n    and committed reading we have here.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ravel might seem to be an odd discmate to Liszt and Schumann; but Ormandy’s\n    Philadelphia recordings during this period included very little French\n    music – just this, and a couple aria accompaniments for soprano Dorothy\n    Maynor. He would go on to re-record the \u003cem\u003eDaphnis\u003c\/em\u003e suite four more\n    times during the LP era (two mono and one stereo version for Columbia, as\n    well as a stereo RCA taping); but the present recording has not been\n    available since the 78 era – surprisingly, given its supercharged\n    excitement that surpasses even Munch’s tempo in the finale.\n\u003c\/p\u003e\n\u003cp\u003e\n    During the late 1930s and early ‘40s, Ormandy became the go-to conductor\n    for Victor’s recordings of Richard Strauss tone poems. Starting with the\n    first electrical recording of the \u003cem\u003eSymphonia Domestica\u003c\/em\u003e in 1938,\n    Ormandy and the Philadelphia recorded the present \u003cem\u003eEin Heldenleben \u003c\/em\u003e\n    the following year, and would go on to record \u003cem\u003eDon Quixote\u003c\/em\u003e with\n    Emanuel Feuermann in 1940 (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\"\u003ePASC 168\u003c\/a\u003e). Ormandy recorded three more\n    versions of \u003cem\u003eHeldenleben \u003c\/em\u003eduring the LP era (Columbia mono, 1954;\n    Columbia stereo, 1960; RCA stereo, 1978), but the present one is the\n    swiftest of them all.\n\u003c\/p\u003e\n\u003cp\u003e\n    Throughout his conducting career, Ormandy was a committed champion of\n    American music. The works by Menotti and Barber were not only disc\n    premières; they were the first recording of any piece by the former, and\n    the earliest recorded orchestral work of the latter. The Roy Harris suite\nis comprised of the two orchestral interludes from the composer’s    \u003cem\u003eFolksong Symphony\u003c\/em\u003e framing a newly-added middle section. It\n    remained unissued during the 78 era.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Sousa marches, never reissued until now, were recorded as a display\n    of patriotism at the orchestra’s first session after America entered the\n    Second World War. It was to be the last under their Victor contract.\n    Shortly afterward, the first Petrillo Ban on recording went into effect;\n    and when it was over in 1944, the Philadelphia Orchestra began what was to\n    be a twenty-four year association with Columbia (except for one make-up\n    session in 1945 – but that’s a story for another volume . . . )\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\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eThe Early Years ∙ Volume 1\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eStudio Recordings ∙ 1936 - 1942\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e\n            \u003cbr\u003e\n        \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003eCD 1 (66:33)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eLISZT: Les préludes, S.97\u003c\/strong\u003e (15:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1937 ∙ Matrices: CS 013065\/8 (all Take 1) ∙ First\n    issued on Victor 14924\/5 in album M-453\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eSCHUMANN: Symphony No. 2 in C, Op. 61\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Sostenuto assai – Allegro, ma non troppo (10:38)\u003cbr\u003e3. 2nd Mvt.: Scherzo: Allegro vivace (7:01)\u003cbr\u003e4. 3rd Mvt.: Adagio espressivo (9:38)\u003cbr\u003e5. 4th Mvt.: Allegro molto vivace (7:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 \u0026amp; 9 January 1937 ∙ Matrices: CS 03141-1,\n    03142-1, 03143-1, 03144-1, 03145-1, 03146-1, 03147-1, 03148-1, 03189-1\n    \u0026amp; 03190-2 ∙ First issued on Victor 14885\/9 in album M-448\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eRAVEL: Daphnis et Chloé – Suite No. 2\u003c\/strong\u003e\u003cbr\u003e6. Lever du jour (Daybreak) (4:48)\u003cbr\u003e7. Pantomime (7:26)\u003cbr\u003e8. Danse générale (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrices: CS 030900-1, 030901-1, 030902-2 \u0026amp;\n    030903-1 ∙ First issued on Victor 16147\/8 in album M-667\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eCD 2 (69:27)\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 R. STRAUSS: Ein Heldenleben, Op. 40\u003c\/strong\u003e\u003cbr\u003e1. Der Held (The Hero) (4:06)\u003cbr\u003e2. Des Helden Widersacher (The Hero’s Adversaries) (3:12)\u003cbr\u003e3. Des Helden Gefährtin (The Hero’s Companion) (12:30)\u003cbr\u003e4. Des Helden Walstatt (The Hero’s Battlefield) (8:08)\u003cbr\u003e5. Des Helden Friedenswerke (The Hero’s Works of Peace) (4:23)\u003cbr\u003e6. Des Helden Weltflucht und Vollendung (The Hero’s Retreat from the World\n    and Fulfillment) (10:24)\u003cstrong\u003e\u003cbr\u003eAlexander Hilsberg ∙ \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 April 1939 ∙ Matrices: CS 035813-1, 035814-1, 035815-2,\n    035816-1, 035817-1, 035818-1, 035819-1, 035820-1, 035821-1 \u0026amp; 035822-1 ∙\n    First issued on Victor 15661\/5 in album M-610\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e7. \u003cstrong\u003eMENOTTI: Amelia Goes to the Ball – Overture \u003c\/strong\u003e(4:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrix: CS 030904-2 ∙ First issued on Victor\n    15377\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e8. \u003cstrong\u003eBARBER: First Essay for Orchestra, Op. 12\u003c\/strong\u003e (7:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056573-1 \u0026amp; 056574-2 ∙ First\n    issued on Victor 18062\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eROY HARRIS: Three Pieces for Orchestra\u003c\/strong\u003e\u003cbr\u003e9. Dance Tunes for Strings and Percussion (2:45)\u003cbr\u003e10. Evening Piece (3:47)\u003cbr\u003e11. Dance Tunes for Full Orchestra (2:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071290\/1 (both Take 1) ∙ Unissued\n    on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e12. \u003cstrong\u003eSOUSA: Washington Post March \u003c\/strong\u003e(2:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073214-2 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e13. \u003cstrong\u003eSOUSA: The Stars and Stripes Forever \u003c\/strong\u003e(3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073213-1 ∙ First issued on Victor 11-8451\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\u003e\u003cspan style=\"font-size: 20px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n    providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\u003cp\u003eTotal duration: \u003cb\u003e2hr 16:00 \u003c\/b\u003e\u003cbr\u003eCD1: 66:34 CD2: 69:26\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\/PASC578.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC578.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":31280440148029,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205536956750,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC578_7e1c4d07-6f8f-4050-94c3-2c70ba6d703a.jpg?v=1763954105"},{"product_id":"pasc578-cd","title":"ORMANDY and The Philadelphia Orchestra - 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PASC583","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003e(arr. Stokowski) La cathédrale engloutie\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eLe martyre de saint Sébastien\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003e(arr. Stokowski) La soirée dans Grenade\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eSymphony No. 1, Op. 210\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No.2\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1943\/44\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:26   \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eNBC Symphony Orchestra\u003cbr\u003econducted by Leopold Stokowski\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC583.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    When Stokowski visited London in 1957 to make his annual appearances in the\n    capital, he was invited onto 'Desert Island Discs.' This is the BBC's\n    long-running radio programme in which well-known persons are asked to\n    choose 8 recordings to take with them, should they be marooned on a desert\nisland. Among Stokowski's choices was \"Sirènes\" from Debussy's    \u003cem\u003eThree Nocturnes\u003c\/em\u003e. \"I am a great lover of Debussy,\" he told the\n    presenter, \"and when I was a student in Paris a long time ago I heard him\n    play the piano and I also heard him conduct. I think he was a great\n    genius.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's devotion to Debussy's music was exemplified in his orchestral\n    arrangements of \"The Engulfed Cathedral\" and \"Night in Granada,\" both\n    presented here. He also transcribed \"Clair de lune,\" his 1937 Philadelphia\n    Orchestra 78rpm disc becoming a huge best-seller in its day.\n\u003c\/p\u003e\n\u003cp\u003e\n    However, the one Debussy piece that Stokowski conducted the most, both on\n    record and in the concert-hall, was \"Prelude to the Afternoon of a Faun.\"\n    He performed it for the first time in Cincinnati in 1912, made the first\n    American recording acoustically in 1924 (PASC 441) and played it for the\n    last time in 1972 at the age of 90. In his notes to a 1958 Capitol LP\n    featuring the work, he wrote: \"This music is a miracle of delicate, erotic\n    beauty, suggesting a dream world of pagan loveliness, utterly original, in\n    every way perfect.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    One of the many interesting aspects of Stokowski's three-season tenure with\n    the NBC Symphony was the extraordinary amount of new music he programmed.\n    Perhaps even more remarkable was that he played many such works just once\n    for a single radio broadcast but never returned to them. The selected\n    'Symphonic Fragments' from \u003ca name=\"page-title\"\u003e\u003c\/a\u003eDebussy's \"Le Martyre\n    de Saint Sebastien\" are a case in point, as is Darius Milhaud's 1st\n    Symphony in what was its New York premiere.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Milhaud family had fled to the USA in early 1940, following the Nazi\n    invasion of France. The Symphony No. 1 had just been completed, having been\n    commissioned by the Chicago Symphony as one of the works marking its 50th\n    Anniversary celebrations that year, and it was conducted by Milhaud himself\n    on 17 October 1940. Commentators have said that this is one of his finest\n    works, with Stokowski's performance having been called \"highly idiomatic\"\n    and the composer himself declaring it \"very powerful.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Our final selection, the 2nd Suite from Ravel's \"Daphnis and Chloe,\" was\n    also the concluding work on that particular day's programme. Listening to\n    it, one wonders if the great maestro had glanced at the studio clock and\n    wanted to make sure the broadcast didn't over-run. At any rate, in the\n    final dance he pushed the NBC players to their utmost limits and duly\n    brought the house down. One thing can safely be said of Stokowski: he was\n    seldom if ever dull!\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. RADIO Introduction to The Engulfed Cathedral  (0:24)\u003cbr\u003e2.\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(arr. Stokowski) La cathédrale engloutie\u003c\/span\u003e  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 13 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Prelude to the Afternoon of a Faun  (0:30)\u003cbr\u003e4. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (11:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 9 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to The Martyrdom of Saint Sebastian  (0:30)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLe martyre de saint Sébastien\u003c\/span\u003e\u003cbr\u003e6. I. La Cour des lys  (4:39)\u003cbr\u003e7. II. Danse extatique et Final du 1er Acte  (7:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. RADIO Introduction to Milhaud Symphony No. 1  (0:13)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMILHAUD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 1, Op. 210\u003c\/span\u003e\u003cbr\u003e9. 1st mvt. - Pastoral. Modérément animé  (5:55)\u003cbr\u003e10. 2nd mvt. - Très vif  (3:40)\u003cbr\u003e11. 3rd mvt. - Très modéré  (5:43)\u003cbr\u003e12. 4th mvt. - Final. Animé  (5:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e13. RADIO Introduction to Night in Granada  (0:45)\u003cbr\u003e14. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(arr. Stokowski) - Estampes - 2. La soirée dans Grenade\u003c\/span\u003e  (7:13)\u003cbr\u003e\u003cbr\u003e15. RADIO Introduction to Daphnis and Chloe  (1:05)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No.2\u003c\/span\u003e\u003cbr\u003e16. 1. Lever de jour  (5:11)\u003cbr\u003e17. 2. Pantomime   (6:53)\u003cbr\u003e18. 3. Danse générale  (2:48)\u003cbr\u003e19. RADIO Final applause and conclusion  (1:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  79:26    \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\/PASC583.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC583.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":31478714957885,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205536072014,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205536104782,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC583_4d10cc64-d7d5-4efa-8fe6-733dfa559872.jpg?v=1578068295"},{"product_id":"pasc583-cd","title":"STOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC583.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31478710796349,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205535842638,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC583_b917b6e6-a6f6-4bd4-a947-38fa99642f97.jpg?v=1658750223"},{"product_id":"pasc616","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTannhäuser Overture - Lohengrin Prelude\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 - Academic Festival Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eGRIEG \u003c\/b\u003eTwo Elegiac Melodies\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eBoléro\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Perpetuum Mobile\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003emusic by \u003cb\u003eSuppé, Bizet, Mahler, Tchaikovsky\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-32\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 18:29\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC616.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release, along with our first volume (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc595\" target=\"_blank\"\u003ePASC 595\u003c\/a\u003e) and the\n    Tchaikovsky works featured on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\" target=\"_blank\"\u003ePASC 511\u003c\/a\u003e, present Willem Mengelberg’s\n    complete recordings with his Concertgebouw Orchestra for the Columbia\n    label. Mengelberg’s Columbias are significant in several respects: they\n    include his earliest recordings with the Concertgebouw, an ensemble whose\n    partnership with the conductor dated back to 1895; they feature the works\n    of some contemporary composers with whom Mengelberg had personal\n    friendships and special insights, such as Mahler; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e in our previous\n    volume, which have never been bettered on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    The present collection focuses on works from the Romantic era through the\n    music of the conductor’s contemporaries. Mengelberg only recorded a handful\n    of Wagner orchestral works; yet the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture which\n    opens our program stands among the finest ever made. Critic Rob Cowan has\n    written that it “vies with \u003cem\u003eLes Préludes\u003c\/em\u003e as the perfect show-case\n    for Mengelberg’s striking personality.” Aided by Columbia’s superb\n    engineering in one of his last recordings for the label, Mengelberg\n    achieves in the final pages the same overwhelming sense of glory he evoked\n    in the Liszt tone poem. Hardly less noteworthy is the \u003cem\u003eLohengrin\u003c\/em\u003e\n    Prelude, which highlights the string portamenti that were a hallmark of\n    Mengelberg’s interpretations.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg only recorded three of the Brahms symphonies – the Second and\n    Fourth for Telefunken, and this Columbia version of the Third. (A live\n    broadcast of the First, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc221\"\u003ePASC 221\u003c\/a\u003e, was released after his death.) As\n    there was already a recent Weingartner recording of the First in the\n    Columbia catalog, Mengelberg had to make do with only a single movement as\na filler side for his expansive performance of the \u003cem\u003eAcademic Festival\u003c\/em\u003e Overture. In the Third Symphony, the    \u003cem\u003eAndante\u003c\/em\u003e is taken at a surprisingly fast tempo. But lest one think\n    this was done solely to fit the movement onto a side and a half, he takes a\n    similar approach in a 1944 broadcast.\n\u003c\/p\u003e\n\u003cp\u003e\n    The next selections display Mengelberg’s deft touch with lighter music. A\n    highlight of the Suppé overture is the beautifully played solo by longtime\n    Concertgebouw principal cellist Marix Loevensohn. The Johann Strauss work\n    is a showcase for the various sections of the orchestra, each displaying a\n    memorable individuality. The Bizet again draws attention to the portamenti\n    of the Concertgebouw strings, as they work up to an expertly paced\n    crescendo.\n\u003c\/p\u003e\n\u003cp\u003e\n    Three composers Mengelberg knew personally follow in our program. Both\n    Grieg and Ravel expressed admiration for the conductor; and Mahler was a\n    close friend whose works Mengelberg championed for years, both before and\n    after the composer’s death. The \u003cem\u003eAdagietto\u003c\/em\u003e from Mahler’s Fifth\n    presented here is perhaps the most important document in this set; for in\n    addition to being the conductor’s only commercial recording of a Mahler\n    work, its notably faster pacing reveals it in a much different light than\n    that of subsequent interpreters.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Ravel was one of the four earliest recordings of the work, made between\n    January and May of 1930, after those of Piero Coppola, the composer himself\n    and Serge Koussevitzky. Though it drives to an impressively loud\n    conclusion, the performance is somewhat hobbled by the players’ requirement\n    to stop every four minutes to start a new matrix, with tempi and volume\n    levels becoming inconsistent from side to side.\n\u003c\/p\u003e\n\u003cp\u003e\nThe final work is an unpublished take of the Waltz from Tchaikovsky’s    \u003cem\u003eSerenade for Strings\u003c\/em\u003e, which was omitted from our earlier\n    all-Tchaikovsky set. There is some untidy ensemble around 2:50, which may\n    have been the reason Mengelberg recorded another two takes before he\n    approved the result. Such was his sense of perfectionism, even in a\n    seemingly minor filler side like this. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\n        \u003cstrong\u003e\n            \u003cspan style=\"font-size: 24px;\"\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003eColumbia Recordings ∙\n            Volume II\n        \u003c\/span\u003e\n    \u003c\/a\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n    \u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e (73:10)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eWAGNER: Tannhäuser – Overture (Dresden version) \u003c\/strong\u003e(13:32)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 May 1932 ∙ Matrices: WAX 6413-3, 6414-3, 6415-2 \u0026amp; 6416-1 ∙\n    First issued on Columbia LX 170\/1\n\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n2. \u003cstrong\u003eWAGNER: Lohengrin – Prelude to Act 1 \u003c\/strong\u003e(8:38)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 June 1927 ∙ Matrices: WAX 2839-1 \u0026amp; 2840-2 ∙ First issued on\n    Columbia L 1948\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. \u003cstrong\u003eBRAHMS: Academic Festival Overture, Op. 80 \u003c\/strong\u003e(11:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 May 1930 ∙ Matrices: WAX 5596-1, 5597-2 \u0026amp; 5598-2 ∙ First\n    issued on Columbia LX 58\/9\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBRAHMS: Symphony No. 1 in C minor, Op. 68\u003c\/strong\u003e\u003cbr\u003e4. 3rd Mvt.: Un poco allegretto e grazioso (4:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1930 ∙ Matrix: WAX 5608-2 ∙ First issued on Columbia LX 59\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e BRAHMS: Symphony No. 3 in F major, Op. 90\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro con brio (13:04)\u003cbr\u003e6. 2nd Mvt.: Andante (7:07)\u003cbr\u003e7. 3rd Mvt.: Poco allegretto (5:38)\u003cbr\u003e8. 4th Mvt.: Allegro (9:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 May 1932 ∙ Matrices: WAX 6417-2, 6418-1, 6419-2, 6420-1,\n    6421-2, 6422-2, 6423-3 \u0026amp; 6424-2 ∙ First issued on Columbia LX 220\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (65:24)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSUPPÉ: Poet and Peasant – Overture \u003c\/strong\u003e(8:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 May 1932 ∙ Matrices: WAX 6425-2 \u0026amp; 6426-2 ∙ First issued on\n    Columbia LX 179\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    2. \u003cstrong\u003eJ. STRAUSS II: Perpetuum Mobile, Op. 257 \u003c\/strong\u003e(4:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 May 1932 ∙ Matrix: WAX 6428-1 ∙ First issued on Columbia LX 240\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. \u003cstrong\u003eBIZET: L’Arlésienne - Adagietto \u003c\/strong\u003e(4:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 June 1929 ∙ Matrix: WAX 5048-3 ∙ First issued on Columbia DX 6\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eGRIEG: Two Elegiac Melodies, Op. 34\u003c\/strong\u003e\u003cbr\u003e4. No. 1 – Heart Wounds (Hjertesår) (3:44)\u003cbr\u003e5. No. 2 – The Last Spring (Våren) (4:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 3 June 1931 ∙ Matrices: WAX 6140-2 \u0026amp; 6141-1 ∙ First issued on\n    Columbia LX 168\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eMAHLER: Symphony No. 5 in C sharp minor\u003c\/strong\u003e\u003cbr\u003e6. 4th Mvt.: Adagietto: Sehr langsam (7:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1548-2 \u0026amp; 1549-2 ∙ First issued on\n    Columbia L 1768\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eRAVEL: Boléro \u003c\/strong\u003e(14:40)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1930 ∙ Matrices: WAX 5603-1, 5604-1, 5605-1 \u0026amp; 5606-2 ∙\n    First issued on Columbia LX 48\/9\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003ca name=\"OLE_LINK1\"\u003e\u003c\/a\u003e\n    \u003ca name=\"OLE_LINK2\"\u003e\n        \u003cstrong\u003e\u003cem\u003e\u003cbr\u003eEarly Versions and Alternate Takes\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/a\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    9. \u003cstrong\u003eWAGNER: Tannhäuser – Overture (Dresden version) \u003c\/strong\u003e(14:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded May, 1926 ∙ Matrices: WAX 1538-1, 1539-3, 1540-2 \u0026amp; 1541-3 ∙\n    First issued on Columbia L 1770\/1\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eTCHAIKOVSKY: Serenade for Strings, Op. 48\u003c\/strong\u003e\u003cbr\u003e10. 2nd Mvt.: Waltz (3:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 May 1928 ∙ Matrix: WAX 3646-1 ∙ Take unissued on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem Mengelberg and the Concertgebouw Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n    \u003c\/span\u003e\u003ca name=\"OLE_LINK5\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\n        \u003c\/span\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/a\u003e\u003cbr\u003eSpecial thanks to     \u003ca name=\"OLE_LINK4\"\u003eNathan Brown, Frank Forman and Charles Niss \u003c\/a\u003efor\n    providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\n\u003c\/p\u003e\u003cp\u003eTotal duration:  \u003cb\u003e2hr 18:29 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