{"title":"Rimsky-Korsakov","description":"\u003cp\u003eNikolai Rimsky-Korsakov (1844-1908) was a Russian composer, naval officer and teacher, and a central member of the group known as The Five. Born in Tikhvin, he combined musical imagination with a famously disciplined command of orchestration.\u003c\/p\u003e\u003cp\u003eHis works include \u003cem\u003eScheherazade\u003c\/em\u003e, \u003cem\u003eCapriccio espagnol\u003c\/em\u003e, the \u003cem\u003eRussian Easter Festival Overture\u003c\/em\u003e, operas such as \u003cem\u003eThe Golden Cockerel\u003c\/em\u003e and \u003cem\u003eSadko\u003c\/em\u003e, and a Piano Concerto.\u003c\/p\u003e\u003cp\u003eRimsky-Korsakov’s music is brilliant, colourful and often steeped in folk, fairy-tale and orientalising imagery. His orchestration became a model for generations of composers.\u003c\/p\u003e\u003cp\u003eAs a teacher, he shaped Russian music through pupils including Glazunov, Stravinsky and Prokofiev. Rimsky-Korsakov made the orchestra glitter like a lacquered box opened under strong light.\u003c\/p\u003e","products":[{"product_id":"pasc304","title":"COATES conducts Rimsky, Mussorgsky, Borodin \u0026 Stravinsky (1926-30) - PASC304","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Petrushka Ballet\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBORODIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prince Igor - excerpts\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e May Night - Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMUSSORGSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\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\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eElectric HMV recordings 1926-30\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:15\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHmm! Stravinsky! Now we're in for something weird!578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePetrushka (1930):\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"...Of\n Stravinsky on her programme, \" Hmm ! Stravinsky ! Now we're in for \nsomething weird ! \" What we actually were in for was the Berceuse and \nFinale of The Fire Bird, which, had the printer of the programme \nerroneously attributed to the pen of Rimsky-Korsakov, the good lady \nwould assuredly have applauded as vehemently as she did Scheherazacle at\n the same concert. So much for the average Briton's attitude towards \nmusical progress. Yet why should early Stravinsky still be imagined by \nso many to be so revolutionary and incomprehensible 7 The Fire Bird was \nwritten in 1910— surely nineteen years is sufficient time even for an \naverage British concert-goer to assimilate its idiom. The answer must \nlie in the fact that ever since Petrouchka Stravinsky has been such an \nexperimentalist, and his idiom has been so elusive, that his reputation \nis better known than his music, and so our conservative concert-goers \nget afraid, and refuse to become conversant with any form of music later\n than Wagner. To these I would say : \"Ladies and Gentlemen, go to your \ngramophone dealer and listen to a few records of contemporary music ; it\n will cost you nothing, and you will gain the knowledge that there is \nnothing at all offensive in such works as The Fire Bird, nothing in fact\n that is incompatible with the traditions of Rimsky-Korsakov, Borodin \nand others ; then you will go to the concert hall and hear with \nunprejudiced ears the same works, and will enjoy them.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e... \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003eIn\n 1911 appeared Petrouchka, which is still regarded by many as \nStravinsky's masterpiece, though none can maintain that he ceased \ndeveloping at this date. Certainly his later works are more abstruse and\n objective, but Stravinsky never stands still, he always moves forward, \nforward, forward, and even though his followers may sometimes be led \ninto somewhat cacophonic by-roads, the discursions are always \ninteresting, and open up new paths of development. Nevertheless \nPetrouchka is certainly the apex of his genius in multi-coloured \norchestral resourcefulness, and it is probably the most musically \ninfluential of all his works ; hardly one of the younger generation of \nRussian Ballet composers has escaped the influence of Petrouchka in some\n form or another, and probably that is why it is the best known of his \nworks. Stravinsky, as I have said before, changes his style so often \nthat it is almost impossible to say which is the most representative of \nhis works, yet to a grarnophile who knows nothing of this amazing \ncomposer's works I would recommend Petrouchka as his first introduction \nto Stravinsky. Two excellent sets of Petrouchka records are available ; \none on six sides of Columbia (L2173-5), conducted by the composer, and \nthe other on eight sides of H.M.V. (D1521-4) by the London Symphony \nOrchestra under Albert Coates. Both renderings are extremely - good the \nColumbia version is the noisier, yet I think on the whole the clearer \nand more supple, but I greatly regret the excision of the trumpet, flute\n and bassoon trio where the Moor makes love to the ballerina. I \npersonally chose the H.M.V. version for its completeness.\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\"These Moderns 1.—Russia: Stravinsky and Prokofiev\" (excerpts) by A. M. Gordon-Brown, The Gramophone, March 1930\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC304.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\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\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\/PASC304.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC304.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116557029437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116557062205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC304_eecf7b72-5873-42b3-8a79-5b85f536865b.jpg?v=1554801530"},{"product_id":"pasc303","title":"COATES conducts Russian and French music (1921-24) - PASC303","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Coq d'Or - suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Firebird Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\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\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eAcoustic HMV recordings 1921-24\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:19\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\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\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\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\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\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\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\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":"paco104","title":"KOVELEV \u0026 AKULOV Rimsky-Korsakov: Le Coq d'Or (1961\/2) - PACO104","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Le Coq d'Or\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording · c.1961\/62\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 57:29 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\n\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAleksey Korolev\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Tsar Dodon\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eYuri Yelnikov\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Tsarevich Gvidon\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAleksandr Polyakov\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Tsarevich Afron\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMoscow Radio Soloists, Choir\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eand\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Opera Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAleksey Kovalev \u0026amp; Yevgeny Akulov, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductors\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI can’t see this recording be surpassed anytime soon578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eVasily Vasilyevich Yastrebtsev, friend and student of Rimsky-Korsakov, noted in his diary that upon the completion of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Tale of the Tsar Saltan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n its composer stated he was finished with fairy-tale operas. It was a \nsingularly poor prediction, at least in one sense. Rimsky-Korsakov would\n turn to Russian fairytales as a medium for exploring other themes: \nselfishness and love in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKashchei the Deathless\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; love, sullied by humanity, only pure on the other side of the grave in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Legend of the Invisible City of Kitezh\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; and a viciously funny satire of unitary power in specific and humanity in general, in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Cockerel. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBegun in 1906 and finished the \nfollowing year, Rimsky-Korsakov never intended the work as a reflection \non the current regime. There’s no resemblance between the elderly, \nlustful, self-indulgent, self-pitying widower King Dodon in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Cockerel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and the middle-aged, shallow, gentle, but easily swayed Nicholas II. \nBut the times were politically volatile, and any criticism of rulers, \nhowever oblique, was bound to come up against the iron wall of \ncensorship in late Tsarist Russia. The composer never lived to see its \npremiere, which took place in 1909. A shame, as it was to prove in some \nrespects his operatic masterpiece, a work of harmonic audacity, \norchestral brilliance, and transformational subtlety. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCuriously, the Soviets waited until 1962 to record \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Cockerel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Even more curiously, there are two conductors involved, and two Queens \nof Shemakhan. The conductors are Alexei Kovalev and Yevgeni Akulov. And \nwhile the complete recording lists Klara Kadinskaya as the Queen, \nanother act II was also released separately at that time on a single \ndisc, featuring Galina Oleinichenko—again with Kovalev and Akulov. This \nwould seem to point to the possibility that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Cockerel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n like a very few other Soviet opera recordings, was made with a double \nset of leads, so the masters could be easily slotted into the finished \nproduct and create two different complete versions of the opera. But \nthere’s no evidence this practice was still in use by 1962. Another \npossible scenario is that Oleinichenko had originally been contracted \nfor the complete recording—Korolev can be heard in her version, too—but \nthat the recording was halted and that Oleinichenko, for whatever \nreason, could not return to the studio to finish it. But why would the \ntwo conductors still be listed for Oleinichenko? Perhaps Melodiya’s \nrecords were confused, or not even consulted, when transfers were later \nmade. Or maybe one of the two was available, like Oleinichenko, for only\n a short period of time. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe result, regardless, is worthy. \nSoviet-era opera recordings tended to be compromised through political \nchoices and seniority, but the cast here is uniformly excellent. Alexei \nKorolev, then just past his prime, huffs and fudges his intonation \noccasionally, and pushes for greater chest resonance—but that only makes\n this extraordinarily expressive artist all the better suited to the \nbuffo Dodon, and certainly more so than his contemporary attempt as the \nevil Prince Mstivoi in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMlada\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Kadinskaya has the stratospheric reach but also the agility and tonal \nallure for the Queen (Oleinichenko’s tone is much slimmer), and Gennadi \nPishchayev’s eerily sexless high tenor is perfect for the Astrologer. \nEven the smaller parts boast riches: sweet-toned Yuri Yelnikov makes a \nstirringly enthusiastic Guidon, and Alexander Polyakov a smooth-as-silk \nAfron, with a touch of the quick vibrato that can be heard in Pavel \nLisitsian’s work. Nina Polyakova is as hair-raising in the title role as\n she would be after a different fashion the following year as Fata \nMorgana in Prokofiev’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLove for Three Oranges\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n A shame this fine singer’s tight focus, upper range, and endless \nreserves of breath relegated her on records largely to secondary parts, \nbut one can’t question the results. Kovalev and Akulov, however they \ndivided up the work, carefully reveal all the opera’s subtleties without\n in any way losing momentum. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose, whom I praised for his restoration on Tchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Oprichnik \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(Pristine\n Audio 101) rightly praised the quality of sound on this original \nrelease. He corrected some pitch issues in the last two acts, but \notherwise let well enough alone. The clarity is better than on my \nvarious LP copies, but they suffer from analog side noise to varying \ndegrees. Note, too, that the suite from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Invisible City of Kitezh\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, included in the original set, was too long to include here, but is available as a free download from Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eI can’t see this recording be surpassed anytime soon. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Cockerel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a very difficult opera to bring off live, and there doesn’t seem to be \nmuch interest in creating a new studio version either. That’s \nunfortunate, but the sound on this issue has aged well. Highly \nrecommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBarry Brenesal\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:5 (May\/June 2014) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO104.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous 60s Soviet stereo production of Le Coq d'Or \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBrilliant sound quality in XR remasters from mint Melodiya discs\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAs with a number of Soviet-era recordings, the background to this \nrecording is a little murky. When trying to find out why two conductors \nappear I discovered that it was a recording made for broadcast, but \nbeyond this there is little. Both conductors were experienced, with \nsimilar styles, and so one can only offer conjecture as to why they were\n both involved: time contraints, studio bookings clashing with other \ncommitments, illness, all are possible.\u003c\/p\u003e\u003cp\u003eThe recording itself is very well made and these transfers, from mint\n Melodiya LPs, offer very fine quality sound indeed, as well as \ncorrection to some rather intrusive pitch problems during the second and\n third acts.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Le Coq d'Or\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAleksey Korolev\u003c\/b\u003e - Tsar Dodon\u003cbr\u003e\u003cb\u003eYuri Yelnikov\u003c\/b\u003e - Tsarevich Gvidon\u003cbr\u003e\u003cb\u003eAleksandr Polyakov \u003c\/b\u003e- Tsarevich Afron\u003cbr\u003e\u003cb\u003eLeonid Ktitorov -\u003c\/b\u003e General Polkan\u003cbr\u003e\u003cb\u003eAntonina Klescheva \u003c\/b\u003e- Amelfa\u003cbr\u003e\u003cb\u003eGennady Pishchayev\u003c\/b\u003e - Astrologer\u003cbr\u003e\u003cb\u003eKlara Kadinskaya\u003c\/b\u003e - Shemakhan Tsaritsa\u003cbr\u003e\u003cb\u003eNina Polyakova\u003c\/b\u003e - Golden Cockerel\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\nMoscow Radio Soloists, Choir\u003cbr\u003eand Opera Symphony Orchestra\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAleksey Kovalev \u0026amp; Yevgeny Akulov\u003c\/b\u003e conductors\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\/PACO104.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO104.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSynopsis578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eSynopsis\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTime\u003c\/b\u003e: Unspecified\u003cbr\u003e\u003cb\u003ePlace\u003c\/b\u003e: In the thrice-tenth kingdom, a far off place (beyond thrice-nine lands) in Russian fairy tales\u003cbr\u003e\u003cb\u003eNote\u003c\/b\u003e:\n There is an actual city of Shemakha (also spelled \"Şamaxı\", \"Schemacha\"\n and \"Shamakhy\"), which is the capital of the Shamakhi Rayon of \nAzerbaijan. In Pushkin's day it was an important city and capital of \nwhat was to become the Baku Governorate. But the realm of that name, \nruled by its queen, bears little resemblance to today's Shemakha and \nregion; Pushkin likely seized the name for convenience, to conjure an \nexotic monarchy.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePrologue\u003c\/b\u003e\u003cbr\u003eAfter quotation by the orchestra of the most \nimportant leitmotifs, a mysterious Astrologer comes before the curtain \nand announces to the audience that, although they are going to see and \nhear a fictional tale from long ago, his story will have a valid and \ntrue moral.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAct 1\u003c\/b\u003e\u003cbr\u003eThe bumbling King Dodon talks himself into believing \nthat his country is in danger from a neighbouring state, Shemakha, ruled\n by a beautiful queen. He requests advice of the Astrologer, who \nsupplies a magic Golden Cockerel to safeguard the king's interests. When\n the cockerel confirms that the Queen of Shemakha does harbor \nterritorial ambitions, Dodon decides to pre-emptively strike Shemakha, \nsending his army to battle under the command of his two sons.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAct 2\u003c\/b\u003e\u003cbr\u003eHowever, his sons are both so inept that they manage \nto kill each other on the battlefield. King Dodon then decides to lead \nthe army himself, but further bloodshed is averted because the Golden \nCockerel ensures that the old king becomes besotted when he actually \nsees the beautiful Queen. The Queen herself encourages this situation by\n performing a seductive dance – which tempts the King to try and partner\n her, but he is clumsy and makes a complete mess of it. The Queen \nrealises that she can take over Dodon’s country without further fighting\n – she engineers a marriage proposal from Dodon, which she coyly \naccepts.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAct 3\u003c\/b\u003e\u003cbr\u003eThe Final Scene starts with the wedding procession in\n all its splendour. As this reaches its conclusion, the Astrologer \nappears and says to Dodon, “You promised me anything I could ask for if \nthere could be a happy resolution of your troubles ... .” “Yes, yes,” \nreplies the king, “Just name it and you shall have it.” “Right,” says \nthe Astrologer, “I want the Queen of Shemakha!” At this, the King flares\n up in fury, and strikes down the Astrologer with a blow from his mace. \nThe Golden Cockerel, loyal to his Astrologer master, then swoops across \nand pecks through the King’s jugular. The sky darkens. When light \nreturns, queen and cockerel are gone.\u003cb\u003e\u003cbr\u003e\u003cbr\u003eEpilogue\u003cbr\u003e\u003c\/b\u003eThe \nAstrologer comes again before the curtain and announces the end of his \nstory, reminding the public that what they just saw was “merely \nillusion,” that only he and the queen were mortals and real.\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_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003ePreface to The Golden Cockerel\u003c\/b\u003e by librettist V. Belsky (1907)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe purely human character of Pushkin's story, The Golden Cockerel – a\n tragi-comedy showing the fatal results of human passion and weakness – \nallows us to place the plot in any surroundings and in any period. On \nthese points the author does not commit himself, but indicates vaguely \nin the manner of fairy-tales: \"In a certain far-off kingdom\", \"in a \ncountry set on the borders of the world\".... Nevertheless, the name \nDodon and certain details and expressions used in the story prove the \npoet's desire to give his work the air of a popular Russian tale (like \nTsar Saltan), and similar to those fables expounding the deeds of Prince\n Bova, of Jerouslan Lazarevitch or Erhsa Stchetinnik, fantastical \npictures of national habit and costumes. Therefore, in spite of Oriental\n traces, and the Italian names Duodo, Guidone, the tale is intended to \ndepict, historically, the simple manners and daily life of the Russian \npeople, painted in primitive colours with all the freedom and \nextravagance beloved of artists.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn producing the opera the greatest attention must be paid to every \nscenic detail, so as not to spoil the special character of the work. The\n following remark is equally important. In spite of its apparent \nsimplicity, the purpose of The Golden Cockerel is undoubtedly symbolic.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis is not to be gathered so much from the famous couplet: \"Tho' a \nfable, I admit, moral can be drawn to fit!\" which emphasises the general\n message of the story, as from the way in which Pushkin has shrouded in \nmystery the relationship between his two fantastical characters: The \nAstrologer and the Queen.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eDid they hatch a plot against Dodon? Did they meet by accident, both \nintent on the king's downfall? The author does not tell us, and yet this\n is a question to be solved in order to determine the interpretation of \nthe work. The principal charm of the story lies in so much being left to\n the imagination, but, in order to render the plot somewhat clearer, a \nfew words as to the action on the stage may not come amiss.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMany centuries ago, a wizard, still alive today sought, by his magic \ncunning to overcome the daughter of the Aerial Powers. Failing in his \nproject, he tried to win her through the person of King Dodon. He is \nunsuccessful and to console himself, he presents to the audience, in his\n magic lantern the story of heartless royal ingratitude.\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":"Stereo 24-bit FLAC","offer_id":32417469005,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32417469069,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32417469133,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO104.jpg?v=1487682323"},{"product_id":"pasc405","title":"RICHTER Six Russian Piano Concertos (1950-59) - PASC405","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTchaikovsky \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRimsky-Korsakoff\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRachmaninov \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eNo. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRachmaninov \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concertos \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eNo. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eProkofiev \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGlazunov \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1950-59\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 33:34 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSviatoslav Richter, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeningrad Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMoscow Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMoscow Youth Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eUSSR Radio \u0026amp; TV Large Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eYevgeny Mravinsky - Kirill Kondrashin - Kurt Sanderling, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductors \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine’s remastering is such that no matter what earlier version you have, replacement is justified.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCollectors have long known these \nperformances, which have been available over many years on many \ndifferent labels. In all cases, even BMG’s Melodiya series, the sound \nwas cramped at best, distorted at worst. It was those Melodiya and \nAriola-Eurodisc German pressings that Andrew Rose used as his source, \nbut there is no comparison between those sources and what he has \naccomplished. The sound here is superior, significantly so, in every \nway: orchestral color, dynamic range, piano tone, balance, quietness, \nabsence of wow and flutter, clarity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll of these performances are \nspectacular and should be in any serious piano collection. All were \nmonaural originals from the 1950s, and I have heard Pristine’s transfers\n in their XR stereo version, which is not like the old reprocessed \nstereo of the record industry, but rather a sonic approach that gives us\n a sense of the space of a concert hall without the fake left-right \ndivision. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRichter recorded the Tchaikovsky \nConcerto again, but in my view he never equaled this. Part of the reason\n is the incredibly alert conducting of Mravinsky and deeply committed \nplaying of the Leningrad Philharmonic. But Richter himself seems \ninspired well beyond the level he demonstrated on his rather \nheavy-handed DG recording with Karajan, where you had the feeling that \neveryone involved thought that they were making an important document, \nresulting in a static monument instead of a living performance. The \ncontrasts between the lyrical and the virtuosic are astonishing in this \nperformance. Richter takes off with reckless abandon in, for instance, \nthe central section of the second movement, but he lingers lovingly over\n the poetic passages. And he and Mravinsky hold everything together with\n completely natural gear shifts. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI won’t take excessive \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003espace\n detailing all of these performances. Suffice it to say that Richter’s \nunique blend of a brilliant technique that could do anything he wanted \nand a rare musical insight that led him well beyond mere virtuosity \nmakes each of these performances unique. It is worth noting that the \nRimsky-Korsakov and Glazunov, while not unrecorded, cannot boast \ncompeting recordings on this level of performance. Throughout Richter \nsurprises with the very unusual combination of technical prowess and \ndeep musical insights. Even Prokofiev’s First Concerto, normally simply \nplayed as an athletic display, is given some genuine poetry and careful \nattention to dynamic gradations. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRachmaninoff’s Second Concerto is a gem\n of a performance, though it is probably the most troubling recording \nfrom a sonic viewpoint. There is a degree of distortion and congestion \npresent to a stronger degree than the others, and Richter’s piano tone \nlacks richness. Nonetheless the performance is so focused and \nintelligently thought out (without ever seeming studied or mannered) \nthat one finds oneself respecting this old chestnut anew. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eregular\n readers know that I don’t believe in the concept of a “best” recording \nof any oft-recorded work; music is too complex an art form to rank \nperformances as if they were sports league outcomes. But I can say that \nevery performance in this set is well above the ordinary, and is \nreflective of one of the great pianists of the 20th century at his very \nbest. In addition, with Mravinsky, Kondrashin, and Sanderling he has \nsome of the finest conductors of that era on the podium. In all cases \nyou sense a genuine musical interaction between Richter and his \nconductors. There are occasional moments of orchestral scrappiness, \nparticularly where the Moscow Youth Orchestra is playing. But those same\n youths play with a degree of passion and involvement that is inspiring.\n Pristine’s remastering is such that no matter what earlier version you \nhave, replacement is justified. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC405.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSix brilliant Russian concertos - Richter at his best in the studios of Soviet Russia\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Richter's playing is magnificent ... I wouldn't want to be without this recording\" - Fanfare, 1990 \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese recordings were all made by Melodiya for LP (and, presumeably \nin the case of the earliest, 78rpm) issue in the USSR in the 1950s, at a\n time when Richter was just about unknown in the West. They include a \nnumber of works for which these are his sole recordings - perhaps most \nnotably the first Rachmaninov concerto - as well as in the case of the \nTchaikovsky, possibly his finest recorded interpretation of this major \nwork.\u003c\/p\u003e\u003cp\u003eThe sources for these transfers were all near-mint German reissues \nmade in collaboration between Ariola-Eurodisc and Melodiya some years \nlater, and benefit from far superior vinyl pressings than were available\n in the original Soviet issues. Even so, the original recordings were \nnot perfect, and I've had to deal with a certain amount of peak \ndistortion and wow and flutter throughout most of the series.\u003c\/p\u003e\u003cp\u003eWhat I have also been able to recover in these XR remasters has been \nfar superior overall sound quality than was apparent in any of the \noriginal recordings. Whilst this is especially true in the later issues,\n even the very earliest, 1950 recordings have also shown significant \nimprovements.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003ePiano Concerto No. 1 in B flat, Op. 23 \u003cbr\u003eLeningrad Philharmonic Orchestra - Yevgeny Mravinsky\u003cbr\u003eRecorded 28 July, 1958 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003ePiano Concerto in C sharp minor, Op. 30\u003cbr\u003eMoscow Youth Orchestra - Kirill Kondrashin\u003cbr\u003eRecorded 17 February, 1950 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003e Piano Concerto No. 1 in F sharp minor, Op. 1\u003cbr\u003eUSSR Radio \u0026amp; TV Large Symphony Orchestra - Kurt Sanderling\u003cbr\u003eRecorded 18 February, 1955 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eRACHMANINOV  \u003c\/b\u003ePiano Concerto No. 2 in C minor, Op. 19\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eLeningrad Philharmonic Orchestra - Kurt Sanderling\u003cbr\u003eRecorded 18 February, 1959 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003ePROKOFIEV \u003c\/b\u003e Piano Concerto No. 1 in D flat major, Op. 10\u003cbr\u003eMoscow Youth Orchestra - Kirill Kondrashin\u003cbr\u003eRecorded 1952 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003e Piano Concerto No. 1 in F minor, Op. 92\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eMoscow Youth Orchestra    Kirill Kondrashin\u003cbr\u003eRecorded 14 December, 1952\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eSviatoslav Richter\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eTransfer from Melodiya - Ariola-Eurodisc 89 831 XGK\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC405.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC405.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":90080739354,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":90080772122,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":90080804890,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":90080837658,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC405_3d144856-3f9e-4eb3-96e2-77cb04cc5b50.jpg?v=1710338177"},{"product_id":"pasc479","title":"SEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY, GLINKA, RIMSKY-KORSAKOV, LIADOV\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eVictor Studio Recordings ∙ 1941 – 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:00 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIndianapolis Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n  \u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: Fanfare \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA real ballet tour de force in fine sound578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFabien Sevitzky (1891–1967) was a \nnephew of Serge Koussevitzky. He shortened his name at the behest of his\n famous uncle, who apparently did not relish competition from another \nKoussevitzky. (I have to mention, however, that when I was a kid in the \n1950s and heard references to Koussevitzky on the radio, I at first \nthought that his last name was Sevitzky and that his first name was \n“Sergekou.” I had also heard of Fabien Sevitzky, so Uncle Serge’s effort\n to avoid “confusion” didn’t work with me.) As producer Mark Obert-Thorn\n recounts in his note for this release, Sevitzky, like his uncle, was a \ndouble bass player, and he played in the Philadelphia Orchestra from \n1923 through 1930. After taking up conducting, he headed the \nIndianapolis Symphony from 1937 through 1955 and recorded with that \norchestra for RCA Victor and Capitol. This release, containing \nperformances recorded 1941–46, is the first installment in a series that\n is projected to reissue all of his recordings with the Indianapolis \nSymphony. (Pristine has already released Sevitzky’s earlier recordings \nwith the Philadelphia Simfonietta, an ensemble he founded before his \nappointment to the Indianapolis position.) Obert-Thorn, rather than \nPristine proprietor Andrew Rose, is responsible for the audio \nrestorations on the present release, and there is no indication that \nRose’s own techniques, XR and Ambient Stereo, have been applied. \nObert-Thorn, of course, has been a renowned practitioner in the \nrefurbishment of historical recordings for decades. His efforts here are\n eminently successful, and very worthwhile, since the performances on \nthis release are uniformly excellent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opening pages of Glinka’s Overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRuslan and Liudmila\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with their rapid runs, are a test for the violin section of any \norchestra. Here and in the recurrence of this passage later in the \npiece, the Indianapolis players acquit themselves well. It helps that \nSevitzky sets a less breakneck tempo than does Evgeny Mravinsky in \nseveral live performances from the 1960s. That is all for the better, \nfor where Mravinsky sometimes sounds too frenetic, and his orchestra a \nbit pressed, Sevitzky’s ensemble executes these passages smoothly, \nmaintaining poise and discipline and not seeming to scramble. (Mravinsky\n himself adopts a similar tempo in a 1981 performance issued by Erato.) \nSevitzky’s treatment is amply energetic and kinetic, with strong \nrhythmic definition and precise phrasing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s tempo for Rimsky-Korsakov’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDubinushka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is less quick than that of Gerard Schwarz (Naxos), but with more \npowerful stresses and incisive phrasing he generates an urgent momentum,\n and his performance is the grander and more triumphant of the two. \nEvgeny Svetlanov (Warner) adopts a still more expansive tempo but shares\n Sevitzky’s penchant for strong accents and heightened grandeur. If \nforced to choose among these three performances, I would takes \nSevitzky’s tightly disciplined and rhythmically incisive one, which \nsounds amazingly good in Obert-Thorn’s restoration of the 1941 \nrecording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s timing for Anatoly Liadov’s miniature tone poem \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBaba-Yaga\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n depicting the fearsome witch of Russian folklore, is once again a bit \nlonger than in the performances I have for comparison, by Svetlanov \n(Melodiya), Valery Gergiev (Philips), and Mikhail Pletnev (DG). (The \ntimings are Svetlanov 3:25, Gergiev 3:12, Pletnev 3:24, Sevitzky 3:44.) \nNone of the faster performances sound rushed, and Sevitzky’s doesn’t \nsound slow. Less overtly violent than Svetlanov, he generates menace by \ncreating a sense of measured but unstoppable forward motion. The \norchestra once again plays with precision and incisiveness. The sound is\n amazingly vivid for a recording made in 1945, although the dynamic \nrange predictably doesn’t match that of the much later recordings cited.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s 1946 account of the Waltz from Tchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEvgeny Onegin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a grand and celebratory one, with the strong rhythmic backbone the \nprevious selections lead one to expect. He generates stronger tension \nand momentum than does Gergiev, on another Philips disc, and the \norchestra plays crisply and incisively, with precise string phrasing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1942 recording of Tchaikovsky’s stunningly powerful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eManfred Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the first ever complete commercial recording of this work, was \npreviously reissued in Britain by the Historic Recordings label and was \nreviewed enthusiastically by Boyd Pomeroy in 34:3. I concur unreservedly\n with his favorable assessment. The balance in Sevitzky’s recording \nappropriately favors winds and brass, unlike that in the modern stereo \nrecordings by Riccardo Chailly (Decca) and Vladimir Jurowski (LPO), \nwhich partly for that reason often sound too soft-edged for my taste. \n(Winds and brass do get their due in recordings by Riccardo Muti, on \nEMI, and Kurt Masur, on Warner.) Sevitzky’s firm pacing helps to unify \nthis sprawling work. The many tempo shifts built into the piece are well\n integrated, and transitions are skillfully managed. The performance is \nat once tightly controlled and deeply felt, with sustained tension and \ndisciplined, incisive playing from the orchestra. The opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLento lugubre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement is perfectly paced to capture the mood of deep \ndespair. The first climax arrives as a sudden, explosive outburst. The \nlyrical \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nsection, representing a memory of Manfred’s beloved sister and \nincestuous lover Astarte, is very deliberate but shaped with loving \ndelicacy. The raging coda is taken at a comparatively quick pace and is \nespecially violent and shattering. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn his note for this release, \nObert-Thorn comments that “some parts are played much more slowly than \nwe are used to,” specifically, the Trio section of the second movement \nand the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n third movement. I would add that the tempo for the scherzo is also more\n deliberate than usual, although it is quicker in the reprise after the \nTrio. I find that these tempos work. The Trio, depicting an Alpine \nfairy, is enchantingly lyrical, and the broader tempo imparts an \nespecially brooding quality to the intrusion of the grim Manfred theme. \nThe pastoral third movement starts off in a rapturous, bucolic vein, but\n the minor-key episode that soon intrudes has a forceful thrust, and the\n movement builds to an intense passion. In the finale, the opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con fuoco\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n section (and the recurrence of this tempo later in the movement) is \nfast, incisive, and fiery indeed. The evocation of Astarte is once again\n tenderly lyrical, and the final climax, recapitulating the conclusion \nof the first movement, is just as raging and violent as in its original \nappearance. The solemn coda, reflecting Manfred’s redemption in death, \nis firmly paced and not too slow, celebratory rather than pompous. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOn the basis of this release, Fabien \nSevitzky appears to have been an excellent conductor, eminently \ndeserving of renewed attention. In these performances he imposes tight \norchestral discipline and firm tempos, but he also generates rhythmic \nvitality, urgent momentum, and dramatic excitement. The Indianapolis \nSymphony, too, long ensconced as a respected but not renowned member of \nthe second tier of American orchestras, shows itself to have been a very\n fine ensemble in this era. The sound quality of Obert-Thorn’s \nrestorations is good enough that listeners could contemplate purchasing \nthis release simply for enjoyment of the works included, and not just \nfor its historical value. I look forward with eager anticipation to \nfurther releases in this series. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe restoration of the Fabien Sevitzky (nee Koussevitzky) reading of the Tchaikovsky \u003ci\u003eManfred Symphony\u003c\/i\u003e\n (27-28 January 1942) at the Mural Theatre, Indianapolis by audio \nengineer and annotator Mark Obert-Thorn is not the first CD incarnation \nof this performance: it had been issued on the Historic-Recordings.co.uk\n label in 2009 (HRCD 00017) in a transfer by Damien Rogan. Under that \naegis, the gloomy, dramatic symphony inspired by Lord Byron’s 1816 epic \npoem stands alone; here, Obert-Thorn adds – in the first two selections \nfrom 1941 – the earliest of the conductor’s sessions at RCA Victor. \nSevitzky (1891-1967) – nephew of his more illustrious uncle Serge \nKoussevitzky – had studied both with Liadov and Rimsky-Korsakov in St. \nPetersburg, so he had imbibed the Russian style naturally. An avid \ncollector of neckwear, Sevitzky claimed to possess the second largest \nassortment of neckties, after that of the actor Adolf Menjou. The boast \ncame as part of the Indianapolis Orchestra’s appearance at Cornell \nUniversity, 2 December 1940.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe \u003ci\u003eManfred Symphony\u003c\/i\u003e (1886) evolved from the efforts of Mily \nBalakirev to convince Tchaikovsky that the latter could write a \nprogrammatic work after Byron without having become overwhelmed by the \nBerlioz influence. Tchaikovsky balked a number of times, but he finally \nconceded to his own imagination, which had been thwarted for two years \nby his own admiration of the Schumann treatment of the poem as an \nincidental melodrama. Typically, Tchaikovsky utilizes a series of \nleitmotifs to follow the course of his protagonist, who suffers an acute\n form of Romantic Agony.  Manfred pines for his lost beloved Astarte, \nand the various fits of passion enjoy throes worthy of Poe as well as \nByron.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eGiven the modern popularity of the score among such conductors as \nMarkevitch, Maazel, Rachlin, and Louis Lane, some of Sevitzky’s tempos \nseem unconventional. Leonard Bernstein loathed the music, calling it \n“trash.” Toscanini in 1949 performed the work, even extolling its form –\n and then cut well over 100 bars from the last movement. The outer \nmovements from Sevitzky unfold quite sympathetically, and the \nIndianapolis string tone can be elegant. The second movement \u003ci\u003eVivace con spirito\u003c\/i\u003e – Manfred’s meeting with an Alpine fairy – moves from \u003ci\u003eb minor\u003c\/i\u003e to \u003ci\u003eD Major\u003c\/i\u003e,\n and its secondary theme must be counted among Tchaikovsky’s most lovely\n tunes, soon in counterpoint with the “Manfred” motif. The second \nmovement received the attention of Albert Coates who, unfortunately, \nrecorded no more of the work. Sevitzky slows down the romantic theme \nconsiderably, while the outer sections – somewhat in the “flighty” style\n of Mendelssohn – move briskly.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSevitzky’s \u003ci\u003eAndante con moto\u003c\/i\u003e third movement – a \u003ci\u003eG Major\u003c\/i\u003e \nsiciliana much in the bucolic, Berlioz style – moves at a dangerously \nslow pace, threatening at moments to lose the melodic thread. Still, the\n winds and strings preserve a redolent, spatial sensibility, quite \neffective. The last movement means to convey subterranean bacchantes in \nthe presence of Astarte’s shade, and we soon hear Sevitzky’s \nsubstitution of a side drum for the composer’s designated tambourine. \nThe fugal writing cedes more to German academics than to musically \ndramatic logic.  The cymbal crashes prove jarring, as required. The \nManichean progression from dark to light, \u003ci\u003eb minor\u003c\/i\u003e to\u003ci\u003e B\u003c\/i\u003e \u003ci\u003eMajor\u003c\/i\u003e,\n ends with an exalted chorale, Manfred’s transfiguration. For a first \ncomplete rendition of this ambitious and ungainly score, the Sevitzky \nholds up well.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe other Russian items reveal an energetic, fiery personality before the music. The Glinka \u003ci\u003eRusslan and Ludmilla Overture \u003c\/i\u003e(8\n January 1941) bursts forth furiously, well in the manner of Yevgeny \nMravinsky, with a vibrato-rich string tone. The 1905 political-campaign \nsong \u003ci\u003eDubinishka \u003c\/i\u003e(7 January 1941) savors the \u003ci\u003emarcato\u003c\/i\u003e approach, militant and somber. The Indianapolis brass shines here, as well it should. The \u003ci\u003eOp. 56\u003c\/i\u003e symphonic character-piece \u003ci\u003eBaba-Yaga\u003c\/i\u003e by Liadov revives the folk-lore witch-figure, more recently embodied in Keanu Reeves’ film \u003ci\u003eJohn Wick\u003c\/i\u003e.\n The little demon snarls, hops and skips with adequate malevolence in a \nresonant RCA record from 9 February 1945. Tchaikovsky’s \u003ci\u003eWaltz from Eugene Onegin\u003c\/i\u003e\n first impressed me when Beecham’s Royal Philharmonic played it. Then, I\n heard the Waltz with the vocal accompaniment in the opera, led by \nMitropoulos. Here (19 March 1946), Sevitzky keeps the lithe, somewhat \nbreathless, momentum primary, a real ballet tour de force in fine sound.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003ca href=\"https:\/\/www.audaud.com\/fabiren-sevitzky-the-indianapolis-sym-vol-i-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC479.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabien Sevitzky conducts the Indianapolis Symphony\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29 \nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge \nKoussevitzky’s, his original last name was the same, but later shortened\n at his uncle’s request to avoid confusion.  Like him, Sevitzky took up \nthe double bass in order to win a conservatory scholarship.  After \nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s \nPhiladelphia Orchestra in 1923.  Two years later, he organized members \nof the ensemble’s string section into the Philadelphia Chamber String \nSimfonietta.  (Their complete recordings have been reissued on Pristine \nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he \ncontinued to conduct the chamber ensemble until 1941.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSevitzky was appointed conductor of the Indianapolis Symphony \nOrchestra in 1937, a post he held until 1955.  He retired to Florida, \nwhere he became a faculty member at the University of Miami, leading the\n school’s orchestra and continuing to guest conduct internationally.  It\n was during one such appearance in Athens that Sevitzky died on 3 \nFebruary 1967.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony \nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\n were made for Capitol LPs in 1953.  The present program is the first in\n a series which aims to reissue them all, some for the first time since \ntheir initial release.  None of them have ever received an “official” CD\n reissue.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\n Overture comes on like gangbusters, showing off the exuberance and \nvirtuosity of the ensemble and conductor in sound that was \nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\n revolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\n is worth noting that Sevitzky studied under both Rimsky and Liadov at \nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\n he paints a vivid tonal characterization of the same mythical witch who\n inspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e \nSymphony was the first complete version made of the work (Albert Coates \nhad previously recorded the second movement alone), and would remain the\n only one until Toscanini’s 1949 recording, with a cut of some 100 bars \nin the finale, appeared on LP.  It is dramatically paced, with much \nexcitement in the faster sections.  However, some parts are played much \nmore slowly than we are used to.  The third movement’s “Andante con \nmoto” is here more of an “Adagio molto”; and the second movement’s trio \nis not “l’istesso tempo” as marked by Tchaikovsky, but something \nconsiderably slower.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eEven more curious is Sevitzky’s substitution of a snare drum \n(side drum) for the tambourine in the bacchanal which opens the fourth \nmovement.  The conductor could have interpreted the “tamb.” marked in \nthe score as referring to a “tamburo piccolo” or snare drum.  However, \nthe first page of the score spells out “tambourine”, so there should \nhave been no confusion.  Its presence here remains a mysterious \nprecedent that no other known conductor has followed.  (I am indebted to\n writer Edward Johnson for pointing this out.)\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe sources for the transfers were American Victor 78 rpm \nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\n items; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eGLINKA:  \u003cem\u003eRusslan and Ludmilla\u003c\/em\u003e – Overture \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 8 January 1941 \u003cbr\u003eMatrix No. CS 057573-2 \u003cbr\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eRIMSKY-KORSAKOV:  \u003cem\u003eDubinushka\u003c\/em\u003e, Op. 69\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 7 January 1941\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix No. CS 057574-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eLIADOV: \u003cem\u003eBaba Yaga\u003c\/em\u003e, Op. 56\u003c\/b\u003e \u003cbr\u003e Recorded 9 February 1945 \u003cbr\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003c\/b\u003e                                                    Recorded 19 March 1946\u003cbr\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  \u003cem\u003eManfred\u003c\/em\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eRecorded 27-28 January 1942\u003cbr\u003eMatrix Nos. CS 071331-1, \n071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1, \n071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eIndianapolis Symphony Orchestra  ∙  Fabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\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\/PASC479.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC479.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":31975957005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975957069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC479_f7e5074c-a789-4777-8d68-dff4c30f8b30.jpg?v=1487682581"},{"product_id":"pasc476","title":"STOKOWSKI Acoustic, Volume 4 (1919-24) - PASC476","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS, DVOŘÁK, RIMSKY-KORSAKOV, SAINT-SAËNS, SIBELIUS, BRAHMS, SCHUBERT, MUSSORGSKY, R. STRAUSS, EICHHEIM, PUCCINI, HOFFSTETTER \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eAcoustic studio recordings, 1919-1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:44 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Blue Danube is truncated to four-and-half-minutes what remains is still very appealing and well recorded for the date, May 1919578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is the fourth and final \ninstallment of Pristine’s series devoted to acoustic recordings made by \nLeopold Stokowski and members of the Philadelphia Orchestra. In \nreviewing Volume 3 for 40:2, I expressed some doubts regarding the value\n of acoustic orchestral recordings, since this primitive recording \nprocess was not capable of recording a full orchestra and had to make do\n with a few members of the orchestra clustered around a recording horn. \nThose reservations were only partially assuaged by the earlier disc, \nalthough I had no doubt that Pristine’s remasterings were probably \nbetter in sound than earlier efforts to resuscitate these recordings. \nThat release did contain one item of great historical importance, Sergei\n Rachmaninoff’s 1924 recording of his own Concerto No. 2. As was the \ncase with Volume 3, the selections on this release vary in sound quality\n and in the value of the performances, but there is nothing that matches\n the Rachmaninoff in significance. As before, a notable feature of \nPristine’s restorations is freedom from the wow and flutter that one \nexpects in material of this vintage. Even Pristine’s skilled \nministrations, however, cannot change the fundamental character of these\n early recordings, and it should be immediately clear to the listener \nthat they are acoustics, not electrical recordings. Most of the works on\n the new release are substantially abbreviated in order to fit onto one \nor two 78-rpm sides. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1920 Dvořák recording gives us a little more than one-third of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n movement. Although dynamic and frequency range are predictably limited,\n the sound is smooth and pleasing, and as full as one could hope. \nInstrumental details are clear. Stokowski recorded the complete “New \nWorld” with the Philadelphia in 1925, 1927, and 1934, with the All \nAmerican Youth Orchestra in 1940, with “His” Symphony Orchestra in 1947,\n and finally with the New Philharmonia Orchestra in 1973. The 1920 \nexcerpt is similar to the 1934 recording in its choice of tempo and \nrelative steadiness of tempo, although there is more of an acceleration \nin the minor-key central section in the earlier performance. The 1927 \nrecording is both quicker and more elastic, while the 1940 and 1973 \nreadings are considerably slower—truly glacial, in fact. (I don’t have \nthe 1925 and 1947 recordings.) In Pristine’s restoration of the 1920 \nrecording, one can appreciate the beauty of the playing and Stokowski’s \nexpressive but unexaggerated shaping, only to be disappointed when the \nselection comes to an abrupt end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 excerpt from the third movement of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (“The Young Prince and the Young Princess”) gives us a bit less than \nhalf the movement. As it opens, it sounds like the sensuous main theme \nis being played by a solo violin rather than the full section. \nOtherwise, the treatment is straightforward, with only hints of \nportamento. When he recorded the complete work with the Philadelphians \nin 1934, Stokowski’s approach in this movement was a bit more mannered, \nwith more extravagant expressive gestures and more pronounced \nportamento. The 1919 “Festival in Baghdad” provides only about a third \nof the movement, skipping the solo violin passages at the beginning and \ncoming to an end well before the shipwreck. The performance is again \nstraightforward and in this case comparatively uneventful. The \ncorresponding passages of the 1934 recording are more exciting, due to \nstronger dynamic stresses and a more strongly projected rhythm. The \nlimited dynamic range of the acoustic recording may be partially \nresponsible for this contrast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoco allegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Brahms’s Third Symphony, although less drastically cut than some \nof the other selections, is not very rewarding. The sound bears little \nresemblance to a full orchestra, and the performance seems prosaic. The \ngain in realism in Stokowski’s 1928 Philadelphia recording of the \ncomplete work (as reissued by Biddulph) is striking, and aside from \nissues of completeness and sound, the 1928 version is a better \nperformance, with more expressive playing and more convincing shaping. \nThe pacing is a bit quicker in the later recording, with elasticity that\n is more pronounced but not excessive. The choppy 1921 solo horn is \noutclassed by its later counterpart. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith a timing of 7:32, Salome’s “Dance \nof the Seven Veils,” also recorded in 1921, is much less truncated than \nmany of the other selections on the disc, although the opening flourish \nis cut. As is true elsewhere in this collection, the recorded sound \ncomes off best in more heavily scored passages, where the thinness of \nthe ensemble is less evident. Stokowski’s rendition here is more urgent \nand purposeful than sensuous. In his 1959 recording for Everest, with \nthe Stadium Symphony Orchestra (a pseudonym, I believe, of the New York \nPhilharmonic), he employs a more flexible and dramatic approach. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWe get about half of the “Bacchanale” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSamson et Dalila \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(recorded 1920) and a bit less than that of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFinlandia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1921), but the performances are urgent and exciting, and the \nsound offers a more convincing image of a full orchestra than in some of\n the other selections. Stokowski performs his own transcription of the \nSchubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment musicale\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in F Minor (recorded 1922). The playing here seems rather slack \ncompared to his 1927 Philadelphia remake, which has greater tension, \nalthough the tempos are not much different. Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n D 783 (recorded 1922), was originally a solo piano work, but the \ntranscriber is not named. The complete work manages to fit 16 dances \ninto an 11-minute span (in Alfred Brendel’s 1973 recording on Philips). \nStokowski provides not quite five minutes, and the playing is once again\n surprisingly slack. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne would expect Stokowski to excel in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBlue Danube\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1919), but in the roughly half of the piece he gives us his \nrendition strikes me as mainly brisk and efficient, without much \nshaping, and does not really capture the joyousness of the music. \nPerhaps he was constrained by the cumbersome recording process, although\n as with all of these recordings there were multiple takes in an effort \nto get it right. The eccentricity for which Stokowski was sometimes \nknown makes its appearance in the Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (recorded 1920), where the main tempo, which is supposed to be \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n is outlandishly slow. It doesn’t work. Although Brahms himself \norchestrated this piece, Stokowski performs his own transcription, \npresumably from the four-hand piano original. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKhovanshchina\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt, labeled here as an Entr’acte, is actually the prelude to act \nIV, scene 2. As it is playing, the disgraced Prince Golitsyn is being \nhauled away to exile. Here, too, Stokowski’s tempo strikes me as too \nslow, although not to the same degree. At this rate, Golitsyn’s journey \nto Siberia will be a very lengthy one. In terms of sound quality, \nthough, this recording is one of the better ones on the disc. This \nselection was recorded in 1922; Stokowski rerecorded the piece with the \nPhiladelphians in 1927 at a virtually identical tempo. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe last three items on the disc, by \nHenry Eichheim, Puccini, and Roman Hoffstetter, have never before been \nreleased, and according to Pristine Stokowski’s 1923 effort is the only \nknown recording of Eichheim’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChinese Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which is part of a suite entitled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOriental Impressions.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Eichheim (1870–1942) was an American composer, conductor, and violinist\n who took an interest in the music of the Far East and included some \nelements of it in his compositions. This one sounds like it could be \nmusic for an early Hollywood film set in the Far East, and I don’t find \nit of much value. The recording appears to be incomplete, as it \nterminates abruptly. The 1924 excerpt from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMadama Butterfly\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n identified as “Act II: Prelude (Waiting Music),” is actually the \n“Humming Chorus” that ends act II, scene 1 (without, of course, the \nhumming). The Hoffstetter selection, also recorded in 1924, is a \nStokowski arrangement of the familiar \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from a string quartet once attributed to Joseph Haydn as his op. 3\/5. \nStokowski here maintains a firm and fairly brisk tempo, avoiding the \ndaintiness and saccharinity with which some musicians of this era \ntreated 18th-century music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs is often the case with Pristine CD \nreleases, there are some issues with the accompanying printed matter. \nThere is a typo in “Festival at Baghdad” (the “l” in “Festival” is \nomitted). The insert states that previously unissued recordings are \nmarked with an asterisk, but no items are so marked. One must go to the \nPristine web site to discover that the Eichheim, Puccini, and \nHoffstetter pieces are first releases. While the insert for Volume 3 \nindicated the year when each item was recorded, for this release such \ninformation is available only from the web site. A common problem with \nPristine inserts is that the track numbers are very small and faint and \ndifficult for my elderly eyes to make out. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere can be little doubt that Pristine\n has presented these ancient recordings in the best possible sound, and \nthey offer some listening pleasure, but it is equally clear that their \ninherent limitations in sonic accuracy cannot be completely overcome. \nThat fact, and the fact that most of the selections are heavily cut and \nsome do not show Stokowski at his best, probably limits the appeal of \nthis release to Stokowski completists and those with a strong interest \nin the history of recording. For those not completely committed but \nwishing to give it a try, I would recommend going for Volume 3, because \nof the truly historic Rachmaninoff performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\nThe fourth and final volume documenting Stokowski’s acoustic legacy with\n the Philadelphia Orchestra delves back and forth between 1919 and 1924 \nand provides another raft of rare and stimulating music-making (reviews \nof \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003eVolume 2\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Sep\/Stokowski_acoustic_v3_PASC471.htm\"\u003eVolume 3\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Again, too, one mustn’t expect much by way of symphonic unity, if one \ncan put it thus. These are bleeding chunks, abridgements and the rare \nintact piece, all products of the recording horn in the days when one \nwas grateful for what one could get. So whilst the Blue Danube is \ntruncated to four-and-half-minutes what remains is still very appealing \nand well recorded for the date, May 1919. The Largo from the \u003cem\u003eNew World\u003c\/em\u003e\n serves to remind one that Stokowski recorded the whole work almost as \nsoon as electric recording appeared, in 1925 and – by one of those \nnow-familiar quirks (look at Albert Coates’ legacy, for instance, or \nHenry Wood’s) - he was to do so again in 1927. These two readings are \npreferable to the 1934 recording but the 1920 torso is revealing for the\n bass reinforcements, the sensitive portamenti and the rather abrupt \ncut-off.\u003cbr\u003e \u003cbr\u003e Thaddeus Rich was a long-serving Philadelphia \nconcertmaster, assuming the role in 1906 and relinquishing it two \ndecades later. Inveterate violin collectors may know he left behind a \nmeasly four solo 78rpm sides for Okeh, but one of them was of some \nFauré, so at least the A\u0026amp;R gurus at that small company showed some \ntaste. He takes the solo in one of the movements from \u003cem\u003eScheherazade.\u003c\/em\u003e\n Another eminent member of the orchestra was that elite player Marcel \nTabuteau whose oboe weaves its exotic and evocative spell in the \u003cem\u003eBacchanale\u003c\/em\u003e from \u003cem\u003eSamson and Dalila\u003c\/em\u003e. Whilst \u003cem\u003eFinlandia\u003c\/em\u003e was subject to the usual cuts it is notable for being the first American recording of the piece but with the \u003cem\u003eAllegretto\u003c\/em\u003e\n from Brahms’s Third Symphony, Stokowski went one better. This is the \nfirst recording of any movement from a Brahms Symphony: April 1921 was \nthe date. Later, as we know, Stokowski was to set down the first \nAmerican cycle of the complete Brahms symphonies.\u003cbr\u003e \u003cbr\u003e Recorded over a luxurious two sides Strauss’ \u003cem\u003eDance of the Seven Veils\u003c\/em\u003e\n offers plenty of opportunities for panache and colour. It’s known that \nthe Philadelphia’s complement in these sessions actually diminished over\n time, so by 1922 the Schubert German Dances was played by an orchestra \nlining up 7-4-3-3 with winds and including a saxophone and contrabassoon\n to get doubling or eking out that all important bass line. The \nperformance of the \u003cem\u003eEntr’acte\u003c\/em\u003e from \u003cem\u003eKhovanschina\u003c\/em\u003e \nactually features an audibly bigger band, and appropriately so, for this\n outstanding reading shows Stokowski’s Russophile antenna quivering with\n power.\u003cbr\u003e \u003cbr\u003e The final three items are all first releases. Both the \nPuccini and Hofstetter – then commonly attributed to Haydn – are very \nwelcome to the official discography but the standout piece is Henry \nEichheim’s \u003cem\u003eChinese Rhapsody\u003c\/em\u003e from his \u003cem\u003eOriental Impressions\u003c\/em\u003e.\n Eichheim was a violinist and had been in the Boston Symphony from \n1891-1912. The rich tapestry of the winds and the rather fearsome \npercussive outburst easily transcend the technology and are heard \nsplendidly in this restoration. Collectors will know that in the 1930s \nStoky recorded the same composer’s \u003cem\u003eBali\u003c\/em\u003e, which can be found in a fascinating \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Feb02\/Stokowski_PhiladelphiaRarities.htm\"\u003ePhiladelphia Rarities\u003c\/a\u003e disc on Cala.\u003cbr\u003e \u003cbr\u003e\n All good things must come to an end and that’s the case with this \nseries. It’s been well compiled and transferred and has provided \ninvaluable première recordings of rare material. Who could want for \nmore?\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC476.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal instalment completing all of Stokowski's extant Philadelphia Acoustic recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n good things must come to an end and that’s the case with this series. \nIt’s been well compiled and transferred and has provided invaluable \npremière recordings of rare material. Who could want for more?\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis fourth and final volume completes our set of Stokowski's \ncomplete surviving acoustic recordings, and again I'm grateful to Edward\n Johnson, Mark Obert-Thorn and Ward Marston for their assistance in \nsourcing these often rare and, again here in three cases, previously \nunissued recordings. The use of new pitch stabilisation techniques, \nalong with careful re-equalisation and noise reduction, has once again \nmade great strides in bringing us closer to the sound of The \nPhiladelphia Orchestra at the time of its earliest recordings, and \ndespite the massive limitations of the acoustic horn recording process, \nthis is a delightful listen from start to finish.\u003c\/p\u003e\u003cp\u003eOne final bonus: Henry Eichheim's \u003cem\u003eChinese Rhapsody\u003c\/em\u003e, never previously issued in the 93 years since it was recorded, appears here to be a world première release.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eJohann STRAUSS II (1825-1899)\u003c\/b\u003e\u003cbr\u003e 1. On the Beautiful Blue Danube (An der schönen, blauen Donau, arr. Stokowski), Op. 314 [4:35]\u003cbr\u003e Recorded May 10, 1919\u003cbr\u003eVictor 74627, matrix: C-22825-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eAntonin DVOŘÁK (1841-1904)\u003c\/b\u003e\u003cbr\u003e 2. Symphony No. 9 in E minor, Op. 95 \"From the New World\" - 2nd mvt - largo [4:39]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 74631, matrix: C-24128-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eNikolai RIMSKY-KORSAKOV (1844-1908)\u003c\/b\u003e\u003cbr\u003e 3. Scheherazade, Op. 35 - Young Prince and Young Princess [3:45]\u003cbr\u003e Recorded March 25, 1921\u003cbr\u003eVictor 74691, matrix: C-24629-10\u003cbr\u003e 4. Scheherazade, Op. 35 - Festival at Baghdad [4:14]\u003cbr\u003e Recorded May 9, 1919\u003cbr\u003eVictor 74593, matrix: Victor C-22810-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eCamille SAINT-SAËNS (1835-1921)\u003c\/b\u003e\u003cbr\u003e 5. Samson et Dalila, Op. 47: Act 3 - Bacchanale [4:16]\u003cbr\u003e Recorded December 6, 1920\u003cbr\u003eVictor 74671, matrix: C-24630-5\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJean SIBELIUS (1865-1957) \u003c\/b\u003e\u003cbr\u003e 6. Finlandia, Op. 26 [3:52]\u003cbr\u003e Recorded April 18, 1921\u003cbr\u003e Victor 74698, matrix: C-24988-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJohannes BRAHMS (1833-1897)\u003c\/b\u003e\u003cbr\u003e 7. Hungarian Dance No. 1 in G minor transc. Stokowski [3:37]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 1113, matrix: B-24130-3\u003cbr\u003e 8. Symphony No. 3 in F, Op. 90, 3rd mvt. - Poco allegretto [4:16]\u003cbr\u003e Recorded April 18, 1921 \u003cbr\u003eVictor 74722, matrix: C-24125-8\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRichard STRAUSS (1864-1949) \u003c\/b\u003e\u003cbr\u003e 9. Salome, Op. 54 - Dance of the Seven Veils [7:32]\u003cbr\u003e Recorded December 5, 1921\u003cbr\u003eVictor 74729, 74730, matrices: C-25788-3, C-25789-2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eFranz SCHUBERT (1797-1828)\u003c\/b\u003e\u003cbr\u003e 10. Moment Musical No. 3 in F minor, D.780 transc. Stokowski [2:18]\u003cbr\u003e Recorded January 28, 1922\u003cbr\u003eVictor 66098, matrix: B-25941-6\u003cbr\u003e 11. German Dances, D.783 [4:42]\u003cbr\u003e Recorded December 4, 1922\u003cbr\u003eVictor 74814, matrix: C-27012-7\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eModest MUSSORGSKY (1839-1881)\u003c\/b\u003e\u003cbr\u003e 12. Khovanshchina - Entr'acte [3:54]\u003cbr\u003e Recorded December 12, 1922\u003cbr\u003eVictor 74803, matrix: C-27069-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eHENRY EICHHEIM (1870-1942)\u003c\/b\u003e\u003cbr\u003e *13. Oriental Impressions - 5. Chinese Rhapsody (arr. Stokowski) [5:49]\u003cbr\u003e Recorded May 1, 1923\u003cbr\u003eUnissued, Matrix Nos. B-27909-1\/B-27910-1\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eGiacomo PUCCINI (1858-1921)\u003c\/b\u003e\u003cbr\u003e *14. Madama Butterfly - Act II: Prelude (Waiting music) [3:02]\u003cbr\u003e Recorded 22 December, 1924\u003cbr\u003eUnissued, Matrix No. B-31398-1 or 2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRomanus HOFFSTETTER\u003c\/b\u003e (attrib. Haydn, arr. Stokowski)\u003cbr\u003e *15. Quartet in F, Op. 3, No. 5 2nd mvt. - Andante Cantabile    arr. Stokowski [3:03]\u003cbr\u003e Recorded December 31, 1924\u003cbr\u003eUnissued, Matrix No. B-31624-1 or 2\u003cbr\u003e\u003cbr\u003e Recorded at Camden Church Studio (Victor Building no 22), Camden NJ, USA \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC476.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC476.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":37143706765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37143706829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37143706893,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC476_283438c4-475d-4418-be44-24688697eea9.jpg?v=1494336908"},{"product_id":"paco120","title":"ZEBRE Rimsky-Korsakov: The Tale of Tsar Sultan (1956) - PACO120","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Tale of Tsar Saltan\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Zagreb, 18 November 1956\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:39 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 16px;\"\u003eTsar Saltan - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZdravko Kovac\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTsarina Militrissa - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNada Toncic\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoloists, Orchestra and Chorus of the Zagreb National Opera\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDimitry Zebre\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fMy preference is unequivocally for this Pristine version, and I accordingly give it my enthusiastic endorsement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNikolai Rimsky-Korsakov, I continue to maintain, is one of the great opera composers, and those who have explored his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eoeuvre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e have generally considered \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTale of the Tsar Saltan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSkazka o tsare Saltane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n to be at or near the top among his operatic creations. A few orchestral\n episodes from the work are well known, and one, the ubiquitous “Flight \nof the Bumblebee,” figures as a popular showpiece or encore in various \narrangements. Aside from two German-language live performances not \nintended for commercial release, however, only two complete recordings \nhave ever been made of this opera, both of them dating from the 1950s. \nMelodiya recorded it in 1958 but never did a stereo remake, and although\n the work is in the repertoire of the Mariinsky Theater, it was not \nincluded in the series of Russian operas this company recorded for \nPhilips in the 1990s. Since then, the Mariinsky’s own proprietary label \nhas ignored my pleas to rectify this obvious gap in the discography of \nRussian opera and has chosen instead to focus on works already well \nrepresented in the catalog. Both of the earlier mono recordings, at \nleast, have now been reissued. The Pristine release reviewed here was \nrecorded by Philips in 1956 with a mostly Yugoslav cast and is dubbed \nfrom LPs. Melodiya reissued its one and only recording last year (see \nJames Altena’s review in 38:2), but there were previous reissues on the \nAquarius and Monopole labels. The latter is to be avoided, however, as \nit suffers from botched editing, with episodes appearing out of order in\n the Prologue. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLike so many Russian operas, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTsar Saltan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is based on a work by Pushkin. The 1831 Pushkin tale falls into the category of invented or imitation folklore (a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eskazka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a folk or fairy tale). The story follows a familiar pattern, but \nwith entertaining details. In the city of Tmutarakan, by the Black Sea, a\n virtuous maiden, Militrisa, is mistreated by her two wicked older \nsisters and their confidant, the spiteful old matchmaker Babarikha. Tsar\n Saltan overhears the sisters discussing what they would do if they were\n the tsarina. One would prepare a sumptuous feast for the entire realm, \nanother would weave a fine linen cloth, but Militrisa would bear a \nmighty hero ( \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebogatyr\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n for a son. The Tsar chooses Militrisa as his bride, while the other \nsisters are accorded the roles to which they aspired of cook and weaver.\n While Saltan is away at war, Militrisa fulfils her promise to bear a \nson, but Babarikha and the jealous sisters, substituting their own \nmessage for Militrisa’s, inform the Tsar that she has given birth not to\n a son but to an “unidentified little beast.” The Tsar sends orders that\n Militrisa and her child are to be sealed in a barrel and thrown into \nthe sea. (In Pushkin, it is not Saltan who is responsible for this order\n but rather Babarikha and the wicked sisters, who have substituted their\n own message for the Tsar’s command to take no action until he returns.)\n Mother and son eventually wash ashore on the desert island of Buian and\n break out of the barrel. Gvidon, by this time fully grown, saves a swan\n who is being pursued by a bird of prey, killing the attacker. The swan \nturns out to be an enchanted princess and the bird of prey a sorcerer. \nWith the latter’s demise, a magnificent city appears on the island, and \nits inhabitants acclaim Gvidon as their ruler. When he tells the swan of\n his desire to see his father, she helps him to turn into a bumblebee \nand tells him to follow some merchant ships bound for Tmutarakan. Upon \narriving, the traveling merchants are invited to the Tsar’s court. They \nrecount the wonders they have seen on the formerly deserted island of \nBuian, of the magnificent city, of a squirrel who cracks golden nuts \nwith emerald kernels, of the 33 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebogatyri\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (mighty warriors) patrolling the island, and of Prince Gvidon who rules\n there. Saltan expresses a desire to visit the island and see these \nwonders for himself. When the wicked sisters and Babarikha attempt to \ndissuade him, they are each stung by the bumblebee. Back on Buian, \nGvidon tells the swan of his desire to find the beautiful princess of \nwhom he has dreamed. She is promptly transformed into that princess. The\n Tsar arrives with his ships and is reunited with his wife and son. In \nhis joy he forgives the wicked sisters, while Babarikha, whom the \nsisters blame for their transgressions, makes herself scarce. The opera \nends with general rejoicing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRimsky’s colorful score is saturated \nwith the idioms of Russian folk music, and he adapted many actual folk \nmelodies for use in the opera. Comparison between the Melodiya’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eecht\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-Russian\n recording and Pristine’s Yugoslav one pits an inspired, thoroughly \nidiomatic performance against a dutiful, competent one that is \nunidiomatic in Russian pronunciation. There is a widespread impression \nthat if you need someone to sing in Russian, any old Slav will do, but \nwith the apparent exception of Bulgarians, members of non-Russian Slavic\n nationalities are no more qualified by birth to sing Russian than \nItalians are to sing French. Much of what I hear from the Pristine cast \nhas a definite non-Russian accent, and I do not hear the precise \nenunciation and responsiveness to the text that the Russian one delivers\n superbly. Rimsky’s vocal writing is closely tied to the rhythm and flow\n of the Russian language, and inaccurate pronunciation undermines the \neffect. The leadership of the Zagreb conductor Dimitry Zebre often seems\n cautious and earthbound compared to the vigor, urgency, and rhythmic \nliveliness of Melodiya’s Vasily Nebolsin. Zebre’s tempos tend to be \nslower, sometimes even plodding. Too often he allows tension to slacken,\n and he adds nearly nine minutes to Nebolsin’s overall timing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the most part, good-quality voices \nare to be heard on the Pristine release, but the Russian cast performs \nwith greater character and dramatic involvement. In the title role, \nZdravko Kovač deploys a smooth, well-rounded bass voice of ample size \nand weight, but with his generalized delivery, he lacks the imposing \npresence and commanding authority of the legendary Ivan Petrov on \nMelodiya. He consistently mispronounces the Russian hard “l.” As \nMilitrisa, Nada Tončić lacks the vocal fullness and even production of \nMelodiya’s Evgeniya Smolenskaya. She can sometimes be a bit hooty and \ndisplay a weakness at the lower end, and Smolenskaya sings with greater \npassion and involvement. Melodiya’s Prince Gvidon, Vladimir Ivanovsky, \nhas the larger, more heroic voice and stronger high notes, but the \nlyricism of Pristine’s Janec Lipusek is a viable alternative to \nIvanovsky’s declamatory approach, or would be except for the issue of \npronunciation—Lipusek’s Russian sometimes sounds to me more like Czech. \n(From his name, he could be Czech or Slovak; I haven’t been able to find\n out much about him online.) Maria Glavašević, the Swan Princess on \nPristine, has a sweeter and steadier tone than Melodiya’s Galina \nOleinichenko and less of a tendency toward shrillness in high notes. Her\n love duet with Gvidon in act IV, scene 1 is more tender than its \nMelodiya counterpart. With Marijana Radev’s Babarikha (Pristine), we get\n a good mezzo voice, but the acrid tone of Evgeniya Verbitskaya \n(Melodiya) is surely appropriate for an evil old crone who, when in act I\n the chorus of nursemaids is singing a lullaby to the newborn prince, \ninterjects, “Baiu bai, poskoree umirai!” (Rock-a-bye, quickly die!). \nBoth sets of sisters are very good vocally, but in their most extended \nsequence, in the Prologue, the Pristine pair is somewhat undercut by \nconductor Zebre’s lethargic tempo. Mark Reshetin, Melodiya’s Jester is \nmore droll than his straightforward Zagreb counterpart. Pavel Chekin, \nthe Old Grandfather on Melodiya, sounds like the senior citizen he is \nsupposed to be while still singing proficiently; Franco Paulik, on \nPristine, often sounds like a much younger man. More effective \ncharacterization as well as solid vocalism is also heard from Melodiya’s\n Messenger, Aleksei Ivanov. He sounds a bit drunk, as he is supposed to \nbe. The Bolshoi Orchestra plays with spirit but is occasionally short on\n precision in the brass. The unheralded Zagreb orchestra, at more sedate\n tempos, is sometimes more precise in execution. The Bolshoi Chorus \nsings with greater verve and incisiveness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for sound quality, Melodiya’s \nrecording is brighter, clearer, and more vivid, offering superior \norchestral detail. The remastering engineers have done a good job in \ntaming the shrillness and glare characteristic of older Melodiya \nrecordings. Pristine’s sound is more blended, with more weight in the \nbass but a comparatively backward balancing of the orchestra. Overall, I\n prefer the Melodiya sound. Melodiya is superior, too, in presentation \nand packaging, although both releases make use of Ivan Bilibin’s \nwonderful illustrations for the Pushkin work. Neither release includes a\n libretto, but Melodiya offers a much larger number of tracks with a \ndetailed track listing that helps one figure out who is singing in the \nabsence of the text. (I secured a Russian-only libretto from a library, \nbut James Altena has discovered a link that provides the text in \nCyrillic, Russian transliteration, and English: \naquarius-classic.ru\/album?aid=188\u0026amp; ver=eng.) Melodiya also provides a\n more ample program note and a more detailed synopsis. The track numbers\n and timings on Pristine’s rear insert are very small and faint, and \ndifficult for my 70-year-old eyes to read. More seriously, many of the \ntracks on the second CD are mislabeled. I am informed that this problem \nis being corrected. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eLovers of Russian opera should have a recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTsar Saltan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Pristine’s offers some rewards, but Melodiya’s is a clear first choice. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy colleague Dan Morrison reviewed this\n set in the previous issue (39:2), and I urge anyone reading this review\n to have his superb discussion on hand when reading my own comments, as \nthis provides a good example of how two critics not only can hear the \nsame things, but even hear many of them in much the same way, and yet \nreach differing assessments. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs Dan has ably discussed \nRimsky-Korsakov’s compositional idiom and aesthetic objectives in his \nreview, and supplied a detailed synopsis of the plot, I will proceed \ndirectly to my own evaluation of the merits of this recording in \ncomparison to the recently released rival on Melodiya that I reviewed \nback in 38:2. Possibly the most crucial point of difference between us \nconcerns the relative importance we attach to correctness of \npronunciation and clarity of diction. The 1958 Melodiya set has the \ninherent advantage of an all-Russian cast, whereas this recording, \noriginally made by Philips in 1956, was made in then Yugoslavia (now \nCroatia) with a primarily Croatian cast. Dan pinpoints various flaws in \nthe pronunciation of Russian by the singers in the Philips set, and his \nprofessional expertise here (he has a Ph.D. in Russian history and is \nfluent in the language) is a major factor in his preference for the \nMelodiya set. By contrast, I do not know Russian and so do not share his\n degree of sensitivity to the issue here; even when following along with\n a transliterated libretto (online at \naquarius-classic.ru\/album?aid=188\u0026amp; ver=eng), I cannot spot any \nerrors to a degree that I would find disturbing. Similarly, while the \nMelodiya singers do have greater clarity of diction, I find that of the \nPhilips singers quite satisfactory, and not all indecipherable or \nblurred \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eà la\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Joan\n Sutherland (who was rightly considered a phenomenal artist despite her \nserious deficiency in that respect). Consequently, collectors \nconsidering acquisition of either (or both) of these recordings should \nconsider how much weight they attach to such factors in determining a \npreference here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eInstead, I focus primarily upon various\n qualities of the singers’ voices and interpretations. Unlike Dan I find\n myself to have an overall preference for this Pristine Audio set, \nthough again our differences result largely from divergent reactions to \ncommon factors. The two pairs of elder sisters, the Cook and Weaver, are\n excellent in both recordings, though I have a slight preference for the\n Philips pair because the voices of the two singers have more distinctly\n contrasted and sweeter timbres that make for a superior blend of beauty\n in their concerted passages. In the key role of the youngest sister \nMilitrisa, however, I find that Nada Tončić clearly takes the palm over \nEvgenia Smolenskaya for Melodiya for beauty of tone, security of \ntechnique, and fitness of interpretation, the latter being a decided \ndisappointment in her act I aria. As the villainess matchmaker \nBabarikha, Mariana Radev is much superior to the sour-voiced Evgenia \nVerbitskaya for Melodiya. There is a difference being using a fine voice\n to portray an ugly character and simply having an ugly voice; to my \near, Radev exemplifies the first and Verbitskaya the second. In the high\n tessitura role of the Swan Princess, the sopranos in both sets again \nexcel; I once more slightly prefer the sweeter tone of Maria Glavašević \nto the more metallic one of Galina Oleinichenko for Melodiya, though a \ncertain harshness in the latter’s recorded sound may also be a factor \nhere. Likewise, the two key male roles in both sets are well cast, and \npreferences regarding them will be primarily subjective. As Prince \nGvidon, Vladimir Ivanovsky for Melodiya is more robust and heroic, in \nthe mold of Georgi Nelepp, whereas Janec Lipusek has a lighter, \nsilver-toned sweetness that recalls Sergei Lemeshev. As Tsar Saltan, \nIvan Petrov for Melodiya is more baritonal and gruffer in timbre, \nwhereas Zdravko Kovač has a deep, rich, mellifluous bass that falls far \nmore graciously on my ear. In the supporting male roles, however, there \nis no contest in my view. The Melodiya singers are markedly inferior to \ntheir Philips\/Pristine counterparts in every way: The former \nrespectively evince a less refulgent voice (the Old Grandfather), a \nslightly more nasal timbre (the Jester), and an unsteady vibrato and \nfaulty intonation due to exaggerated interpretive mannerisms (the \nMessenger), whereas the latter have beautiful voices and faultless \nsinging worthy of casting in far more prominent roles. Likewise, while \nthe three sailors for Melodiya range from acceptable (the first and \nthird) to good (the second), their counterparts for Pristine are all \nexcellent. Most opera companies should be green with envy at \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecomprimario\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e singers of this caliber. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBoth choruses and orchestras fulfill \ntheir roles well; I agree with Dan on the overall superiority of the \nBolshoi Opera chorus and orchestra over the Zagreb forces, though the \ndifferences between them are not great. We do again differ in our \nreactions to the conductors. Vasily Nebolsin is indeed brisker and more \npointed in his leadership, but I find Dimitry Zebre not at all sluggish \nor unimaginative, being instead ingratiatingly lyrical and relaxed in \nallowing the fairy tale to unfold, and both approaches appeal to me \nequally. As for the respective sound quality of the two sets, I find my \nsympathies divided. The Melodiya recording has more punch and presence, \nwhereas the beautifully clean Pristine transfer of the Philips set by \ncomparison preserves the latter’s slightly recessed acoustic; but the \nMelodiya also has the typical harsh edge and grittiness of Soviet-era \nrecordings, whereas its rival has an attractive roundness and \nmellowness. The points on where the Melodiya set has decided advantages \nare in its detailed accompanying booklet (Pristine as usual provides \nminimal documentation) and far more generous cueing points (54 tracks \ntotal, compared to only 17 for Pristine). The Pristine set originally \nmislabeled some tracks of its second disc on its back tray card; this \nhas now been corrected, and the new version can be downloaded from \nPristine’s web site. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBoth recordings, then, are quite \nsatisfying, and fans of Rimsky-Korsakov’s operas may well want them \nboth. However, if one prefers to have only a single version, a choice \nbetween them comes down to a personal choice of the relative importance \none assigns assigned to various factors. My colleague Dan quite \nreasonably plumps for the Melodiya set; my preference instead is \nunequivocally for this Pristine version, and I accordingly give it my \nenthusiastic endorsement. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO120.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRare world première recording of Rimsky-Korsakov's Tsar Saltan\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I enjoyed Tsar Saltan every bit as much as Sadko, perhaps even more ... \u003cbr\u003eAnyone who settles down prepared for a long fairy tale should find no longueurs, and hours of enchantment\"\u003cbr\u003e- The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording had been awaiting transfer for some time when it \npopped up on the wish list of the associate editor of one of America's \nmajor classical review magazines in an e-mail I received a few weeks \nago, together with a very good reason to tackle it: \"The c. 1957 \nrecording of Rimsky-Korsakov's \u003cem\u003eTale of Tsar Saltan\u003c\/em\u003e with the \nZagreb Opera. I've never even heard it, but it was universally praised \nupon its original release, and remains one of only two recordings ever \nmade\". The other recording, a Soviet Melodiya production with the \nBolshoi Theatre, was made in 1958, two years after the present Zagreb \nrecording - and a copy of this helped me with the track splitting of \nthis release. Although the Philips LPs from which this transfer was \ntaken were in excellent condition (some occasional swish \nnotwithstanding), the sound of the original was dim and murky in the \nextreme. So it came as a very pleasant surprise to me to discover that, \nhiding in the murk, there was a very nicely recorded opera trying to get\n out. That's not to suggest it's without criticism, technically: a boxy \nbass lacks real depth despite my best efforts; wow and flutter was \npersistent throughout, though has been largely cured here; end of side \ndistortion was a problem to be largely overcome. It's certainly a \nproduct of its age - and yet there's a good balance between the \nmusicians and singers, and the latter come across very well indeed, with\n diction crisp, clear and very well defined.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eThe Tale of Tsar Saltan\u003c\/em\u003e may be one of the less well known of\n operas - it was certainly new to me - except for the appearance in the \nthird act of the Flight of the Bumblebee, a test for any orchestra. The \nZagreb Opera Orchestra tackles it with confident aplomb. Meanwhile the \nsingers do a sterling job. This first CD and digital issue of this \nrecording is surely long overdue.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003e The Tale of Tsar Saltan\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eTsar Saltan\u003c\/em\u003e - Zdravko Kovac\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eTsarina Militrissa\u003c\/em\u003e - Nada Toncic\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eSerene Spinstress\u003c\/em\u003e - Tatiana Slastenko\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eRoyal Bakeress\u003c\/em\u003e - Bjanka Decman\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eBarbaricha\u003c\/em\u003e - Mariana Radev\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eTsarevich Gvidon\u003c\/em\u003e - Janec Lipusek\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003ePrincess Swanhilda\u003c\/em\u003e - Maria Glavasevic\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eOld man\u003c\/em\u003e - Franco Paulik\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eMessenger\u003c\/em\u003e - Milivoy Belavic\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eSkomoroch\u003c\/em\u003e - Milivoy Bacanovic\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eFirst sailor\u003c\/em\u003e - Sergey Reinis\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eSecond sailor\u003c\/em\u003e - Tugomir Alaupovcic\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eThird sailor\u003c\/em\u003e - Drago Bernardic\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eZagreb National Opera Chorus and Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDimitry Zebre\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded 18 November, 1956 \u003cbr\u003eZagreb, Yugoslavia \u003cbr\u003eProduced\/engineered by: \u003cbr\u003eNegri \/ Simek \/ Buczynski\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eReleased as Philips LPs A 02014-16 L\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\/PACO120.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO120.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":31976082765,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976082829,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976082893,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976082957,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO120_6ec25653-223e-4e9a-b1f1-3ab3ef015e36.jpg?v=1487682769"},{"product_id":"pasc405-cd","title":"RICHTER Six Russian Piano Concertos (1950-59) - 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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\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\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 \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\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":"pasc392","title":"OSKAR FRIED conducts Rimsky-Korsakov, Stravinsky, Liszt (1928) - PASC392","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes Préludes\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Scheherazade\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Firebird – Suite (1919 Version)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1928\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:16 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOskar Fried, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere was more sound in those shellac grooves than we realized years ago. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAn admirer of Mahler, who made the first recording\n of a Mahler symphony, Oskar Fried was an important conductor in the \nGermany of the teens and 1920s but had to flee Germany when the Nazis \nattained power. He was sufficiently celebrated that he supposedly made a\n silent film during which he conducted the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonie fantastique, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n purpose of which was apparently to enable orchestras of the future to \nbe “conducted” by him. Unhappily, the film, if it existed, was lost. \nUnlike so many of his colleagues who escaped Nazism by fleeing West, \nFried fled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEast\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, \nto the Soviet Union, where he had already conducted with some success, \nafter which, he seems to have stopped making recordings and pretty much \ndisappeared from Western consciousness. His recordings suggest that he \nwas a strong podium personality with a taste for drama. Witness the \nthree above-listed recordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere’s some surface noise at the outset of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Préludes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n but it will disappear as you become absorbed by the performance. \nAlthough the fast middle section is whipped-up into such a froth that \nthe orchestra can barely articulate it, most of the performance moves \nalong at a conventional tempo, punctuated by subtle tempo shifts and \nstretched cadences. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite,\n as it happens, are right up his alley. Perhaps the winds might have \nbeen more closely recorded but that would be my only complaint, given \nthe patient way he builds “The Sea and Sinbad’s Ship” and the delicate \ntouch he exhibits in parts of “The Tale of the Kalendar Prince.” I would\n prefer a slower tempo for “The Young Prince and the Young Princess,” \nwhich comes off as too bouncy and “sing-songy” the way he takes it. \nThere is some congestion in loud passages but the harp, snare drums, and\n other percussion instruments come through nicely. His fiery “Festival \nat Bagdad” does not disappoint. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite,\n considering its 1928 vintage, features a remarkable display of colors, \nand Fried creates the desired air of mystery at the beginning. The Rondo\n is slow and somewhat milked for effect, but he makes up for lost time \nwhen he rips into the “Infernal Dance.” The “Lullaby” and Finale are \nwell-judged and, as in the rest of the recording, the dynamic range is \nsurprising. For some odd reason, he makes a four-bar cut toward the end,\n just before the full orchestra chimes in. Although these recordings \ndon’t pretend to be a substitute for more recent ones, they probably \nsound better now on modern equipment, given sensitive editing, than they\n ever did when they were new. There was more sound in those shellac \ngrooves than we realized years ago. \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\u003c\/p\u003e\u003cp class=\"Br\"\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC392.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;\"\u003eFabulous early electrical recordings of Oskar Fried and the Berlin Philharmonic\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"they all live happily. So shall we, whilst we have these ripe memories of Stravinsky at his best\" - The Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eThe sources for the present transfers were German Polydors for the Liszt and Stravinsky works and laminated American Brunswicks for \u003cem\u003eScheherazade\u003c\/em\u003e. The violin soloist in the last work is not identified on the original labels but is probably the Danish-born Henry Holst, who was the BPO’s concertmaster from 1923 to 1931 before he emigrated to the UK, where later he became the first violinist in the Philharmonia Quartet.\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\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\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eLISZT  Les Préludes, S97\u003c\/strong\u003e\u003cbr\u003eMatrix nos.: 1341 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1342 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1343 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e \u0026amp; 1344 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e\u003cbr\u003eFirst issued on Polydor 66812 and 66813\u003c\/p\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRIMSKY-KORSAKOV Scheherazade, Op. 35 \u003c\/strong\u003e\u003cbr\u003eMatrix nos.: 1359 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1360½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1361 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1362 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1363½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1364½ bm, 1365 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1366 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1387½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1388½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e \u0026amp; 1389 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e)\u003cbr\u003eFirst issued on Polydor 95187 through 95192\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eSTRAVINSKY The Firebird – Suite (1919 Version) \u003c\/strong\u003e\u003cbr\u003eMatrix nos.: 854 bm, 855 bm, 853½ bm \u0026amp; 856 ½ bm\u003cbr\u003eFirst issued on Polydor 95052 and 95053\u003c\/p\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eBerlin Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eOskar Fried \u003c\/strong\u003econductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\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 Oskar Fried\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eSpecial thanks to Richard Kaplan for providing source material\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 75:16 \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\/PASC392.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC392.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW - \u003c\/strong\u003eSTRAVINSKY The Firebird - Suite\u003c\/p\u003e\u003cp\u003e\nThe first record contains the Fire Bird’s dance, and that of the princesses; the second, the \u003cem\u003eInfernal Dance\u003c\/em\u003e, \u003cem\u003eCradle Song\u003c\/em\u003e\n and Finale. Who will write the Russian Ballet music so subtly to the \npurpose as this? Now that there is so much interest in ballet, so many \nbooks about it, we need the composers. All very well to adapt the \nclassics, but where are the Stravinskys of the day ? It is difficult to \nrealise that this music is a quarter of a century old. The ogre \nKastchei’s chromatic growls open: evil shapes lurk in the magic garden, \nwhere the firebird flits, pursued by Prince Ivan, we are to understand. \nIts flame-like feathers, its shining eyes, light up the garden by night.\n It plucks the golden apples (which, in one version of the legend, \nbestow youth and beauty). We remember that the bird, in gratitude for \nIvan's setting her free, gives him a feather, which shall call her to \nhis aid, at need. The second side shows the captive princesses playing \nwith the apples, forgetting for a while their durance. The record paints\n their dainty shyness exquisitely: the lightness, and the pastel \ncolouring, are most charming. Ivan falls in love with one of them. On \nthe third side, the princesses have returned to their captivity, and the\n ghouls and ogres of Kastchei flock around the impudent fellow who has \ninvaded their realm. This is where we need to see the ballet. Ivan calls\n the firebird by waving its feather, and it begins to dance; mesmerised,\n the servants of the ogre join in. When they are exhausted, the bird \nlulls them to sleep with another dance (side 4); and the end comes, we \nare to imagine, with Ivan’s destroying the casket which contains \nKastchei’s soul. Thereupon his power is dead, and his captives come to \nfree life again; and Ivan marries his princess, who is the Tsar’s \ndaughter; and they all live happily. So shall we, whilst we have these \nripe memories of Stravinsky at his best. The last record welcomes a \nsteel needle, but the delicacies of the others win me best by fibre.\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eW.R.A., The Gramophone\u003c\/strong\u003e, July 1936\u003cbr\u003e \u003cem\u003eReview of Decca-Polydor UK issue, CA8235-6\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34276238477,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34276238541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC392_89cb7e67-d60a-470e-b597-f20d091b1cd8.jpg?v=1489764501"},{"product_id":"pasc392-cd","title":"OSKAR FRIED conducts Rimsky-Korsakov, Stravinsky, Liszt (1928) - PASC392 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478182093,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478182157,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC392_0f7fb805-8ecd-4dfb-9039-de56c7d0d79e.jpg?v=1658309516"},{"product_id":"pasc233","title":"HERTZ Complete San Francisco Recordings Volume 4; GABRILOWITSCH complete Detroit SO (1925-28) - PASC233","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVARIOUS COMPOSERS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Short works and excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded by Victor between 1926 and 1928\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 65:06 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSan Francisco Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfred Hertz\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDetroit Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOssip Gabrilowitsch\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC233.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eHertz in San Francisco, final volume in a Russian vein\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;\"\u003ePlus the complete recordings of Gabrilowitsch and the Detroit Symphony\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eThis final volume of Alfred Hertz’s San Francisco recordings features sides taken down in each of the three years they were recorded using the electrical process.  The 1926 sides were made using the same kind of setup as the ensemble’s acoustic recordings of the prior year – a reduced orchestra in a small studio, probably with tuba reinforcement of the bass line.  The following year saw a move into larger halls, resulting in a more natural concert sound.  Even though he was to live for another 14 years, the Glazunov waltz was the final recording Hertz made.\n\u003cp class=\"body\"\u003eDuring the 1920s, the Victor Talking Machine Company cast its nets far and wide to sign up American ensembles to record.  In addition to the San Francisco Symphony, the label recorded the Hollywood Bowl Orchestra under Eugene Goossens and the St. Louis Symphony under Rudolf Ganz.  To those were added, for one group of sessions only, the Detroit Symphony under its music director, Ossip Gabrilowitsch.  The Russian-born pianist, who had settled in America and married Mark Twain’s daughter, led the Detroit orchestra from 1918 until his death in 1936.  Due to the relatively short running time of the Hertz recordings, I have added the complete Gabrilowitsch\/Detroit recordings to this program.  They display the same kind of dynamic energy, interpretational flair and solid ensemble that distinguished the Hertz\/San Francisco sides.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were prewar Victor “Z” or “Gold” label pressings for all items except the Rimsky-Korsakov work, which I was only able to locate in an Orthophonic edition.  Nearly all of the recordings presented here were plagued by severe pitch problems which I have endeavored to correct in these transfers.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\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\n    1 \u003cstrong\u003eRIMSKY-KORSAKOV: Capriccio Espagnole, Op. 34 \u003c\/strong\u003e(13:50)\n    \u003cbr\u003e\n    Recorded 21st and 23rd April, 1926 in Oakland\n    \u003cbr\u003e\n    Matrix nos.: PCVE 177-4 and 178-3, and PBVE 172-4 and 179-3\n    \u003cbr\u003e\n    First issued on Victor 6603 and 1185\n\u003c\/p\u003e\n\u003cp\u003e\n    2 \u003cstrong\u003eKREISLER: Caprice Viennois, Op. 2 \u003c\/strong\u003e(4:46)\n    \u003cbr\u003e\n    Recorded 24th April, 1926 in Oakland\n    \u003cbr\u003e\n    Matrix no.: PCVE 180-2\n    \u003cbr\u003e\n    First issued on Victor 6586\n\u003c\/p\u003e\n\u003cp\u003e\n    3 \u003cstrong\u003eKREISLER (orch. Hertz): Liebesleid \u003c\/strong\u003e(3:37)\n    \u003cbr\u003e\n    Recorded 15th April, 1927 in the Columbia Theatre, San Francisco\n    \u003cbr\u003e\n    Matrix no.: PCVE 251-2\n    \u003cbr\u003e\n    First issued on Victor 6802\n\u003c\/p\u003e\n\u003cp\u003e\n    4 \u003cstrong\u003eMOSZKOWSKI (orch. Rehfeld): Serenata, Op. 15, No. 1 \u003c\/strong\u003e\n    (2:06)\n    \u003cbr\u003e\n    5 \u003cstrong\u003eLUIGINI: Aubade\u003c\/strong\u003e (2:48)\n    \u003cbr\u003e\n    Recorded 15th April, 1927 in the Columbia Theatre, San Francisco\n    \u003cbr\u003e\n    Matrix no.: PCVE 252-1\n    \u003cbr\u003e\n    First issued on Victor 6802\n\u003c\/p\u003e\n\u003cp\u003e\n    6 \u003cstrong\u003eGLAZUNOV: Valse de Concert, Op. 47 \u003c\/strong\u003e (7:36)\n    \u003cbr\u003e\n    Recorded 28th February, 1928 in the Scottish Rite Temple, Oakland\n    \u003cbr\u003e\n    Matrix nos.: PCVE 42039-2 and 42040-2\n    \u003cbr\u003e\n    First issued on Victor 6826\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eSan Francisco Symphony Orchestra\u003c\/strong\u003e\n    \u003cbr\u003e\n    \u003cstrong\u003e conductor Alfred Hertz\u003c\/strong\u003e\n    \u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    7 \u003cstrong\u003eBRAHMS: Academic Festival Overture, Op. 80 \u003c\/strong\u003e(8:16)\n    \u003cbr\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    Recorded 16th April, 1928 in Orchestra Hall, Detroit\n    \u003cbr\u003e\n    Matrix nos.: CVE 41972-4 and 41973-2\n    \u003cbr\u003e\n    First issued on Victor 6833\n\u003c\/p\u003e\n\u003cp\u003e\n    8\n    \u003cstrong\u003e\n        BRAHMS: Menuetto I \u0026amp; II (from Serenade No. 1 in D Major, Op. 11)\n    \u003c\/strong\u003e\n    (4:02)\n    \u003cbr\u003e\n    Recorded 18th April, 1928 in Orchestra Hall, Detroit\n    \u003cbr\u003e\n    Matrix no.: CVE 41978-1\n    \u003cbr\u003e\n    First issued on Victor 6834\n\u003c\/p\u003e\n\u003cp\u003e\n    9\n    \u003cstrong\u003e\nGLUCK (arr. Mottl): Dance of the Blessed Spirits (from        \u003cem\u003eOrfeo ed Euridice\u003c\/em\u003e)\n    \u003c\/strong\u003e\n    (4:15)\n    \u003cbr\u003e\n    \u003cstrong\u003eJohn Wummer, \u003cem\u003esolo flute\u003c\/em\u003e\u003c\/strong\u003e\n    \u003cbr\u003e\n    Recorded 17th April, 1928 in Orchestra Hall, Detroit\n    \u003cbr\u003e\n    Matrix no.: CVE 41977-1\n    \u003cbr\u003e\n    First issued on Victor 6834\n\u003c\/p\u003e\n\u003cp\u003e\n    10 \u003cstrong\u003eALTSCHULER: Russian Soldier’s Song \u003c\/strong\u003e (1:09)\n    \u003cbr\u003e\n    11\n    \u003cstrong\u003e\n        TCHAIKOVSKY: Marche Miniature (from Suite No. 1 in D Minor, Op. 43)\n    \u003c\/strong\u003e\n    (2:10)\n    \u003cbr\u003e\n    Recorded 18th April, 1928 in Orchestra Hall, Detroit\n    \u003cbr\u003e\n    Matrix no.: CVE 41979-2\n    \u003cbr\u003e\n    First issued on Victor 6835\n\u003c\/p\u003e\n\u003cp\u003e\n    12\n    \u003cstrong\u003e\n        TCHAIKOVSKY: Waltz (from Serenade for Strings in C Major Op. 48)\n    \u003c\/strong\u003e\n    (4:19)\n    \u003cbr\u003e\n    Recorded 17th April, 1928 in Orchestra Hall, Detroit\n    \u003cbr\u003e\n    Matrix no.: CVE 41976-1\n    \u003cbr\u003e\n    First issued on Victor 6835\n\u003c\/p\u003e\n\u003cp\u003e\n    13 \u003cstrong\u003eCHABRIER: España – Rapsodie \u003c\/strong\u003e(6:13)\n    \u003cbr\u003e\n    Recorded 16th April, 1928 in Orchestra Hall, Detroit\n    \u003cbr\u003e\n    Matrix nos.: BVE 41974-3 and 41975-3\n    \u003cbr\u003e\n    First issued on Victor 1337\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eDetroit Symphony Orchestra\u003c\/strong\u003e\n    \u003cbr\u003e\n    \u003cstrong\u003e conductor Ossip Gabrilowitsch\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/strong\u003e\n    \u003cbr\u003e\n    \u003cstrong\u003e\n        Special thanks to Don Tait for the loan of some source material\n    \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTotal duration: 65:06 \u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC233.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC233.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":37145174861,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37145174925,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37145174989,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC233_c5c57604-b9c5-40b5-a106-d8fae2b9a308.jpg?v=1494339283"},{"product_id":"pasc233-cd","title":"HERTZ Complete San Francisco Recordings Volume 4; GABRILOWITSCH complete Detroit SO (1925-28) - PASC233 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478215821,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478215885,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC233_3707eed2-22d8-4fac-9573-715867ed2ff7.jpg?v=1658244623"},{"product_id":"pasc248","title":"STEINBERG conducts Rimsky-Korsakov and Strauss (1953\/55) - PASC248","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Scheherazade\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eWaltzes and Polkas\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1953 and 1955\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:44 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePittsburgh Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilliam Steinberg\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA warm welcome back for some vintage Steinberg, and highly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere is an exceedingly welcome reissue, filling \nsome gaps left by EMI in its fine Steinberg\/Capitol series of some years\n back. This 1955 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is full of the familiar Steinberg virtues of integrity, superior \nmusical values, and care over detail, but with no shortage of \nexcitement, spontaneity, and individuality. His violin soloist is not \nidentified in the printed (downloadable) documentation; he is (Samuel \nThavlu) on Pristine’s website, but we shouldn’t have to go foraging \nonline for this basic information.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“The Sea and Sinbad’s Ship” is shapely, sinuous, \nand subtle, with Steinberg displaying a marvelous ear for detail. His \norchestral balance is characteristically lean, winds to the fore, and \nstrings tight and focused. “The Story of the Kalendar Prince” is \ncharacterful, with wind solos of great artistry; “The Young Prince and \nPrincess” cogent and focused, with string phrasing in long, graceful \narcs. “Festival at Baghdad” is tight, superbly controlled, and \nexcitingly built to the climactic return to “The Sea.” There are many \nclassic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazades\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from the 1950s, from the exhilaratingly elegant Classicism of van \nBeinum\/Concertgebouw (Philips, 1956) to the mesmerizing Wagnerian drama \nand laser-like focus of Scherchen\/Vienna State Opera Orchestra \n(Westminster, 1957), but Steinberg can take his place with the best of \nthem. The recording is fairly dry, with what sounds like a little \nartificially added reverberation. Pristine’s transfer is well balanced \nwith fine range and body but a rather grainy effect; quiet passages show\n some groove-wear distortion, but the ear soon adjusts.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Strauss collection from 1953 sounds a little \nfresher. The performances are treasurable—zesty, refined, affectionate, \nand idiomatic waltzes; the polkas driven with real gusto and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchwung\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (though the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePizzicato\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAnnen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in dubiously garish arrangements I’ve heard before but can’t identify; I\n could also do without the rather crass composed segue connection from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePerpetuum Mobile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e [in E♭-Major] to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTritsch-Tratsch\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e [D Major]).  \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 warm welcome back for some vintage Steinberg, and highly recommended. \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 34:5 (May\/June 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC248.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eWonderful, vibrant, electric - Steinberg in Pittsburgh\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eClassic 1950s Capitol recordings in new XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eDelightful recordings, both well-made and transferred from excellent sources, comprise this first release by Pristine of recordings by the eminent and highly talented William Steinberg, best known for his long tenure with the Pittsburgh Symphony Orchestra, which he transformed into one of the finest in the world at the time.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThere is very little to comment with regard to the restoration and remastering process - everything went exceptionally smoothly, and aside from an occasional suggestion of end-of-side peak distortion in some of Strauss's cymbal-crashing moments, both halves of this somewhat diverse release have come up a treat!\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\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003e Scheherazade\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Samuel Thaviu\u003c\/b\u003e, violin\u003cb\u003e \u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11th January 1955\u003cbr\u003e First issued as Capitol LP P-8305\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJ. STRAUSS II \u003c\/b\u003e Waltzes and Polkas\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11th February 1953\u003cbr\u003e First issued as Capitol LP P-8222\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cb\u003e\u003cspan class=\"body\"\u003eThe Pittsburgh Symphony Orchestra \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e William Steinberg\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eTotal duration: 75:44 \u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Steinberg with the Pittsburgh Symphony, c.1955\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003eTransfers by Edward Johnson from his private collection\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC248.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC248.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":34506641421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34506641485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34506641549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34506641613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC248.jpg?v=1490101810"},{"product_id":"pasc248-cd","title":"STEINBERG conducts Rimsky-Korsakov and Strauss (1953\/55) - PASC248 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478223245,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478223309,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC248_0707af32-60cd-44fb-b20a-4281ca442a50.jpg?v=1658245115"},{"product_id":"pasc192","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirebird Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to 'Tannhäuser'\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS, GRIEG, MOZART, WEBER, BEETHOVEN\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTHOMAS, RIMSKY-KORSAKOV, GOUNOD, LIADOV\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1917-1924\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:37 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOf considerable interest for Stokowski admirers and those who are interested in the history of recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSure enough, in the same mail that brought me that\n Cala finale was a CD titled “Stokowski—Acoustic, Volume One.” I am not \nclear on whether it is merely the first volume of his acoustic \nrecordings or the first volume of a complete Stokowski series or \nsomething in between. Time will tell. Why do people continue to exhume \nthese sonic antiques? A respect for history? Admirable sentiment. A \ndesire to milk every last decibel and frequency wave from those hissing \nshellac grooves? Equally admirable. Stokowski, who began his \nPhiladelphia career in 1912, had initially resisted making recordings \nbecause he found them too primitive. Then, he changed his mind, \nexplaining, “I thought to myself: how stupid of you! You should record \nthis way and although it is bad and you should try to make better \nmethods of recording. . . . Then I tried to find better methods of \nrecording and very slowly they were made better but the first records \nwere made in 1917 and I’ve forgotten what they were. I’m glad I have \nbecause they were awful.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski’s early recordings were made in the \nauditorium of the New Office Building in Camden. I think some later ones\n were made in a Camden church. In those days, as many players as could \nbe accommodated were squeezed under a huge wooden horn. One source \nclaims that 90 Philadelphia Orchestra players made it under the horn. I \nsimply do not believe it. The orchestra sounds skimpy and brassy in the \nBrahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Nos. 5 and 6. I have read that, of the 450 acoustic sides he recorded, \nhe only approved 66. The selections on the CD are presented in \nchronological order of recording (skipping a few) so that one can \nactually hear a slight improvement by the time one arrives in 1924 for \nhis first of his eight recordings of the 1919 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n (I believe this is the record for one conductor recording the same \npiece), which Stravinsky had only assembled five years before the \nrecording. He cuts part of the finale, presumably to get the Suite onto \nfour sides. He also streamlines Felix Weingartner’s orchestration of \nWeber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n omitting repeats. Among the steps Stokowski took to try to improve the \nsound was shuffling the players around for better balance and having the\n horns face away from him so that the bells of the instrument would face\n the front. He changed the orchestration of some music, having the \nwoodwinds and brasses double some strings in the lower registers. You \ncan hear tuba or bass saxophone replacing double basses on some \nrecordings. He also tried various acoustic baffles to reflect the sound \nmore. He must have felt somewhat relieved in 1925, when electrical \nrecording came along, although Victor, at first, didn’t quite know what \nto do with it, continuing to record a reduced Philadelphia Orchestra in \nthe company’s dead Trinity Church studio in Camden, and substituting a \nbass saxophone for the double basses and a contrabassoon for the \ntimpani! By 1926, Victor’s engineers had gotten the message and the full\n orchestra began recording at the Academy of Music without any changes \nin the orchestration. Stokowski may have thought that some of these \nearly efforts were “awful,” but they may prove to be of considerable \ninterest for Stokowski admirers and those who are interested in the \nhistory of recording, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC192.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAll the acoustic recordings Stokowski made only once\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus his first Firebird Suite - in astonishing XR-remastered sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski made his first recordings with the Philadelphia Orchestra in 1917 though, as Edward Johnson has noted, \"between 1917 and 1924, they made an estimated 450 acoustic recordings, but the old method of playing into a large horn gave a very poor representation of orchestral sound, and of all their acoustic discs, only 60 or so were actually issued...\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIndeed, Stokowski's very first acoustic recordings were never released - his first attempts at the two Brahms Hungarian Dances included here were recorded on 22nd October, 1917, together with two works by Tchaikovsky. All four recordings were remade - in the case of the Brahms, just two days later, to become the first released recordings conducted by Stokowski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt is indeed true, as Edward Johnson states, that in their 'natural' state, acoustic recordings made a pretty poor job of capturing anything much - though HMV's legendary producer Fred Gaisberg always had an affectionate soft spot for the way they captured the human voice. It has become a generalisation to state that the recordings captured little below 200Hz, and perhaps little above 2500Hz, or perhaps 3000Hz at a push.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, as these recordings demonstrate, this was not necessarily the case - though it often takes the kind of advanced restoration processing that Pristine's XR remastering brings to these recordings to uncover the real range and quality of acoustic recordings. In the case, for example, of the first recording on this collection, there's a full bass going down to (and possibly below) 70Hz - a frequency extension of almost two octaves over the accepted lower limits. Meanwhile, throughout the recording one can clearly hear string harmonics in the 3500-4000Hz range, and where the brass plays at full volume there's genuine audio content up at (and beyond) 5kHz, which is not far off the upper end of electrical recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn order to hear these extremes it has been necessary first to dramatically re-equalise sound that has been highly coloured and harmonically distorted by the horn it was recorded through. This therefore comprises the first stage of the XR process in this context. Secondly we then have to apply highly selective, targeted noise reduction to those frequencies which have received what has often been a quite enormous level boost, rooting out the noise and leaving as much of the actual recorded audio intact.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe results of this are genuinely astonishing - even more so when the records were slowed down to concert pitch (apparently it was common for Victor to deliberately record at below 78rpm so that their records sounded brighter when played back at their stated speed). The majority were out by up to a full semitone (though some were considerably closer to true concert pitch), and the correction of this adds further depth and authenticity to the instrumental sound, as well as giving a much more sensible idea of Stokowski's tempi.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recordings here, ordered by date of recording, include every piece (or version) that Stokowski only recorded once and in the acoustic era. It was astonishing to learn that his later studio recordings included neither Mozart's \u003cem\u003e40th Symphony\u003c\/em\u003e nor Beethoven's \u003cem\u003eEighth\u003c\/em\u003e, and that as a result the movements here represent his only studio-recorded comments on these major works. Meanwhile the Dresden version of Wagner's \u003cem\u003eTannhäuser Overture\u003c\/em\u003e was replaced by the later Paris version in all his subsequent recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, I decided to add one work which Stokowski recorded more than any other conductor - Stravinsky's \u003cem\u003eFirebird Suite\u003c\/em\u003e, in a rare acoustic recording which was made right at the end of the acoustic era, and was swiftly remade in front of a microphone. Like many of the recordings in this collection, it has never been reissued on vinyl or CD.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThese XR-remastered recordings probably serve to knock about ten years off the perceived age of many of these recordings (though they won't of course disguise the substitution of tubas for double basses) - and these remarkable recordings can be enjoyed as if they were recorded in the early days of electrical recordings, rather than the dying days of the acoustic horn - albeit with at times slightly higher surface noise.\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\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 5 in G minor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:53)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64752, Matrix B-20888-3\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 6 in D\u003c\/span\u003e (3:05)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64753, Matrix B-20889-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRIEG\u003c\/strong\u003e Anitra's Dance from 'Peer Gynt' Suite No. 1, Op.46\u003c\/span\u003e (3:11)\u003cbr\u003e Recorded 8\/11\/1917, first issued as Victor 64768, Matrix B-21067-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e \u003cstrong\u003eMOZART\u003c\/strong\u003e 3. Menuetto, Symphony No. 40 in G minor, K550\u003c\/span\u003e (4:00)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74609, Matrix C-22813-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBER\u003c\/strong\u003e Invitation to the Dance, J260 (arr. Weingartner) \u003c\/span\u003e(4:45)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74598, Matrix C-22821-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93 (\u003c\/span\u003e4:06)\u003cbr\u003e Recorded 20\/5\/1920, first issued as Victor 74661, Matrix C-24127-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Overture to 'Tannhäuser' (Dresden version)\u003c\/span\u003e (13:03)\u003cbr\u003e Recorded 7\/11 \u0026amp; 5\/12\/1921, first issued as Victor 74758, 74759, 74768\u003cbr\u003e Matrices C-22808-10, 22814-7, 24999-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Fireworks, Op. 4\u003c\/span\u003e (3:35)\u003cbr\u003e Recorded 6\/11\/1922, first issued as Victor 1112, Matrix B-27064-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTHOMAS\u003c\/strong\u003e Gavotte from 'Mignon'\u003c\/span\u003e (1:54)\u003cbr\u003e Recorded 6\/3\/1923, first issued as Victor 66172, Matrix B-27982-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRIMSKY-KORSAKOV\u003c\/strong\u003e Dance of the Tumblers from 'Snow Maiden'\u003c\/span\u003e (3:43)\u003cbr\u003e Recorded 19\/3\/1923, first issued as Victor 74849, Matrix C-27938-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOUNOD\u003c\/strong\u003e Waltz from 'Faust' \u003c\/span\u003e(3:07)\u003cbr\u003e Recorded 1\/5\/1923, first issued as Victor 66171, Matrix B-27099-8\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Festive March from 'Tannhäuser'\u003c\/span\u003e (4:18)\u003cbr\u003e Recorded 28\/4\/1924 first issued as Victor 6478, Matrix C-29051-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Firebird Suite\u003c\/span\u003e (16:02)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 6492\/3 \u003cbr\u003e Matrices C-30992-3, 30993-3, 30994-2, 30995-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLIADOV\u003c\/strong\u003e Dance of the Amazon, Op. 65\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:37)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 1112, Matrix B-31263-2\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eThe Philadelphia Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose, September 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 70:37 \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\/PASC192.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC192.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":36099399501,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205576245582,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205576278350,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205576311118,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC192_a3b7e471-e1c3-4b29-8f0e-8913a7fa1e3e.jpg?v=1615189105"},{"product_id":"pasc192-cd","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478332941,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205576180046,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC192.jpg?v=1658243384"},{"product_id":"pasc030","title":"BADURA-SKODA Rimsky-Korsakov: Piano Concerto (1950) - PASC030","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1950\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration: 13:01\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePaul Badura-Skoda, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Vienna Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eConductor: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHenry Swoboda\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC030.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eRimsky-Korsakoff's\u003c\/strong\u003e piano concerto must surely be among the shortest to claim the title, particularly in the Romantic era. Yet it is full of delight and deserves to be better known. Written in the middle of his life, it seems to have had little impact on him - \"\u003cem\u003eI cannot clearly recall exactly when I first conceived the thought of setting to work on the Piano Concerto, nor when the concert was finally ready and orchestrated.\u003c\/em\u003e\" (It dates from 1882-3.)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe music is based on a Russian theme, and can be considered a fantasy that has been divided into three tempi, corresponding to the three movements of the concerto. It is written after the style of Liszt, as the composer happily admits, and one may well hear echoes of Liszt's E flat Concerto in this piece. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cspan style=\"color: #000000;\"\u003eHere we find one of the greatest pianists of the twentieth century, \u003cstrong\u003ePaul Badura-Skoda\u003c\/strong\u003e, in one of his earliest LP recordings, made for Westminster in 1950 and then paired with Scriabin's concerto (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc031\"\u003ePASC031\u003c\/a\u003e). Despite some rather dubious original recorded sound, Peter Harrison at \u003cem\u003edisk2disc\u003c\/em\u003e has done wonders to make this once again worth hearing!\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Piano Concerto in C sharp minor, Op.30\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Badura-Skoda, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e Vienna Symphony Orchestra\u003cbr\u003e \u003c\/b\u003eConductor: \u003cb\u003eHenry Swoboda\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eRecorded October 1950\u003c\/p\u003e\u003cp\u003eIssued as Westminster WL5068, XWN18521\u003c\/p\u003e\u003cp\u003eDuration: 13:01\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC030.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC030.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":36150369997,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC030.jpg?v=1492527273"},{"product_id":"pasc030-cd","title":"BADURA-SKODA Rimsky-Korsakov: Piano Concerto (1950) - PASC030 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478360461,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205569790286,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC030_945ff214-a1e2-42eb-9e21-8f90655dc7f8.jpg?v=1657717065"},{"product_id":"pasc529","title":"STOKOWSKI conducts Rimsky-Korsakov (1927) - PASC529","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Scheherazade \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e(1927 recording)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRussian Easter Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMaid of Pskov – Prelude \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eto Act 3\n    \n\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1927 - 1939\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:55\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC529.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Stokowski and Rimsky-Korsakov were truly a match made in musical\n        heaven. The composer’s exotic orchestral colors, lush Romanticism and\n        lively rhythms played to the conductor’s strengths. It is no wonder,\n        then, that the composer’s works – and \u003cem\u003eScheherazade\u003c\/em\u003e in\n        particular – feature prominently in Stokowski’s discography.\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski recorded abridged movements from \u003cem\u003eScheherazade\u003c\/em\u003e\n    acoustically with his Philadelphia Orchestra as early as 1919 (on\n    Pristine PASC 476), and made the first electrical recording, reissued here,\n    in 1927. He went on to re-record it, again in Philadelphia, in 1934 before\n    making a still-unpublished version with the All-American Youth Orchestra in\n    1941. His next three recordings, all from the LP era, emanated from London:\n    a 1951 version with the Philharmonia Orchestra; a 1964 Decca “Phase-4”\n    recording with the London Symphony; and a final version in 1975 with the\n    Royal Philharmonic.\n\u003c\/p\u003e\n\u003cp\u003e\n    All of the recordings reflect the same general outline of the conductor’s\n    interpretation; but the 1927 version is prized for being the lithest,\n    swiftest and most energetic of the lot. Stokowski is aided by the crack\n    first-desk team of the orchestra of the time, particularly concertmaster\n    Mischa Mischakoff, clarinetist Daniel Bonade and oboist Marcel Tabuteau.\n\u003c\/p\u003e\n\u003cp\u003e\n    Shortly after the original recording was issued, four of the ten sides\n    (Sides 1, 2, 4 and 6) were dubbed due to blasting problems. Sides 1, 2 and\n    6 are reproduced here from original undubbed “Orthophonic”-label pressings.\n    They are noticeably noisier than the remaining sides, which were taken from\n    vinyl test pressings and (for the last side) a shellac “Z” pressing.\n    According to Richard Kaplan’s Philadelphia Orchestra discography, an\n    alternate take for Side 4 (Take 1) was released. A vinyl test has been used in the\n    transfer of the complete recording due to its better sound, while the other\n    take (Take 3), from an undubbed “Orthophonic” disc, is presented here in an\n    appendix.\n\u003c\/p\u003e\n\u003cp\u003e\n    Before recording the complete work in October of 1927, Stokowski set down\n    the first movement alone the prior May. This version, unpublished on 78 rpm\n    discs, was spread over three sides with a correspondingly broader tempo. It\n    is fascinating to compare this to the issued version on two sides, in which\n    Stokowski tries to achieve the same overall approach by shortening pauses\n    and subtly increasing tempos to fit the allotted timing without seeming to\n    be rushed. The earlier version, transferred from vinyl tests, is included\n    here before the complete recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski likewise made several recordings of the \u003cem\u003eRussian Easter\u003c\/em\u003e\n    Overture. The first one from 1929 (reissued here) and the last, with the\n    Chicago Symphony from 1968, are in Rimsky’s original orchestration; but in\n    his middle two recordings (NBC Symphony, 1942; Stokowski Symphony\n    Orchestra, 1953), he used bass Nicola Moscona to sing one of the Russian\nOrthodox liturgical chants quoted in the work. The prelude from    \u003cem\u003eThe Maid of Pskov\u003c\/em\u003e, with its vivid depiction of a storm, was\noriginally credited on the record label as being from    \u003cem\u003eIvan the Terrible\u003c\/em\u003e. This was the title under which Diaghilev\n    mounted a successful Paris production in 1909 starring Chaliapin, by which\n    the opera became better known in the West.\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: 20px;\"\u003eSTOKOWSKI conducts RIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eScheherazade (1927 recording)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRussian Easter Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Maid of Pskov – Prelude to Act 3\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\u003eThe Philadelphia Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\u003cstrong\u003eVictor Studio Recordings ∙ 1927 – 1939        \n    \u003c\/strong\u003e\n\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\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1.\u003cstrong\u003e RIMSKY-KORSAKOV: Russian Easter Overture, Op. 36\u003c\/strong\u003e (13:48)\u003cbr\u003eRecorded 26 \u0026amp; 28 January 1929\u003cbr\u003eMatrix nos.: CVE 48923-1, 48924-3A, 48925-2A \u0026amp; 48926-1 (Victor 7018\/9)\n\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2.\n    \u003cstrong\u003e\n        RIMSKY-KORSAKOV: The Maid of Pskov (Ivan the Terrible) – Prelude \u003c\/strong\u003e\u003cstrong\u003eto Act 3\u003c\/strong\u003e\u003cstrong\u003e\n    \u003c\/strong\u003e\n    (4:19)\u003cbr\u003eRecorded 9 April 1939\u003cbr\u003eMatrix no.: CS 03548-1 (Victor 17502-B in album M-717)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRIMSKY-KORSAKOV: Scheherazade – Symphonic Suite, Op. 35\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    3. 1st Mvt.: The Sea and Sinbad’s Ship (10:03)\u003cbr\u003eRecorded 3 May 1927\u003cbr\u003eMatrix nos. CVE 38254-1, 38255-1 and 38256-1 (unpublished on 78 rpm)\n\u003c\/p\u003e\n\u003cp\u003e\n    4. 1st Mvt.: The Sea and Sinbad’s Ship (9:10)\u003cbr\u003e5. 2nd Mvt.: The Tale of the Prince Kalender (10:22)\u003cbr\u003e6. 3rd Mvt.: The Young Prince and the Young Princess (8:54)\u003cbr\u003e7. 4th Mvt.: The Festival at Bagdad (10:58)\u003cbr\u003eRecorded 8, 10 \u0026amp; 11 October 1927\u003cbr\u003eMatrix nos.: CVE 32854-4, 32855-3, 39346-1, 39347-1, 39348-1, 39349-1,\n    39350-1A, 39351-1A, 39352-1 \u0026amp; 39353-2 (Victor 6738\/42 in album M-23)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eAppendix\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8. 2nd Mvt.: The Tale of the Prince Kalender (alternate published take of\n    Side 4) (4:21)\u003cbr\u003eRecorded 13 October 1927\u003cbr\u003eMatrix no.: CVE 39347-3 (Victor 6739-B in album M-23)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLeopold Stokowski ∙ The Philadelphia Orchestra\u003c\/strong\u003e\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\n\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n    \u003c\/b\u003eTotal Timing: 71:55\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\/PASC529.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC529.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":13774398554173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205547508046,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC529_aa4601e9-6861-4b0b-872c-5c47ce933e5b.jpg?v=1546515245"},{"product_id":"pasc529-cd","title":"STOKOWSKI conducts Rimsky-Korsakov (1927) - 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Fantasia and Fugue in C minor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Gratulations-Menuett\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Creatures of Prometheus - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9 'Choral'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Francesca da Rimini\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBORODIN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Prince Igor - Ballet \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 41, 'Jupiter'\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Der Schauspieldirektor - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 6, \"Pathétique\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e March Slave\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Romeo and Juliet Fantasy Overture\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLINKA\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\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\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Coq d'Or - suite\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Firebird Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Glinka, Liadov, Debussy\u003c\/span\u003e\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\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Petrushka Ballet\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBORODIN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prince Igor - excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Czar Sultan - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e May Night - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMUSSORGSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\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\u003c\/span\u003e\u003cspan\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\u003cbr\u003e\n\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=\"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\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 \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\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\u003cbr\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\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\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\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\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\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\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\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\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 - 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Stokowski) Petrushka Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1941-44\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 32: 06 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Moscona\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, bass\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEduard Steuermann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC596.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \"I'm very fond of Russian music\" Stokowski would often say in interviews\n    and, as with so many contemporary composers during his long career, he was\n    a foremost champion of the Russians, frequently performing works by\n    Rachmaninoff, Shostakovich, Prokofiev, Khachaturian, Scriabin and many\nothers. He was also an advocate of Stravinsky's music, with\u003cem\u003eThe Rite of Spring\u003c\/em\u003e, \u003cem\u003eLes Noces\u003c\/em\u003e, \u003cem\u003eOedipus Rex\u003c\/em\u003e,\u003cem\u003eThe Song of the Nightingale\u003c\/em\u003e and the    \u003cem\u003eSymphonies of Wind Instruments\u003c\/em\u003e all receiving their US premieres\n    under his direction.\n\u003c\/p\u003e\n\u003cp\u003e\nOn Philadelphia Orchestra 78s too, he made the first US recordings of    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e and \u003cem\u003ePetrushka\u003c\/em\u003e, from which he devised\nthe colourful Suite heard here. However, it was \u003cem\u003eThe\u003c\/em\u003e    \u003cem\u003eFirebird\u003c\/em\u003e Suite which appealed to Stokowski the most. He recorded\n    this work no fewer than eight times, starting with an acoustic set in 1924\n    (PASC192, also featuring \u003cem\u003eFireworks\u003c\/em\u003e). Incidentally, he occasionally\n    added the effective clang of a tubular bell at the start of the \"Infernal\n    Dance,\" as in the brilliantly played NBC performance on this CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovky's 4th Symphony also featured in Stokowski's list of numerous\n    disc premieres, its first American recording having been made with the\n    Philadelphia Orchestra in 1928. He was to re-record it for Victor two days\n    after the broadcast heard here in a 78rpm set that has been described as\n    \"fiery and impetuous\" and even \"wilful,\" words that are also applicable to\n    the preceding live performance.\n\u003c\/p\u003e\n\u003cp\u003e\nRimsky-Korsakov was also much in Stokowski's repertoire, with    \u003cem\u003eScheherazade\u003c\/em\u003e excerpted on acoustics (PASC476) and recorded five\ntimes thereafter. He made the first American 78s of the    \u003cem\u003eRussian Easter Festival Overture\u003c\/em\u003e in 1929 and this he also\n    re-recorded with the NBC Symphony for Victor shortly after its 1942\n    broadcast. However, for this performance he made a colourful emendation.\n    About half-way through, Rimsky-Korsakov directs a solo trombone to depict\n    the chanting of a Russian Orthodox priest during an Easter service. At this\n    point, Stokowski decided on what might be called the \"authentic\" touch and\n    engaged Nicola Moscona to intone the Old Slavonic text instead. On the\n    other hand, in the case of the dazzling \u003cem\u003eSpanish Caprice\u003c\/em\u003e, Stokowski\n    rather curiously didn't get round to recording this work commercially until\n    1973, a few months before his 91st birthday!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, it is Tchaikovsky who occupies a major portion of Stokowski's\n    discography and we conclude with the 5th Symphony. He recorded the second\n    movement acoustically in 1923 (PASC441) and one of his commercial LPs -\n    taped in 1953 with his own special team of top-flight New York musicians -\n    can be found on PASC188. The same adjectives that have described\n    Stokowski's reading of the 4th Symphony can also be applied to the 5th.\n    Small cuts in both will be noted, though abridging Tchaikovsky in those\n    days was quite common - witness Toscanini's deletion of over 100 bars from\n    the \u003cem\u003eManfred\u003c\/em\u003e Symphony's finale! Nevertheless, in Stokowski's hands,\n    the NBC Symphony gives these Tchaikovsky symphonies virtuosic performances\n    as visceral, intense and as passionate as they come.\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;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Russian Music\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Firebird Suite  (1:06)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Firebird - Suite\u003c\/span\u003e\u003cbr\u003e2. I. Introduction  (3:08)\u003cbr\u003e3. II. The Firebird and its Dance  (1:15)\u003cbr\u003e4. III. The Princesses' Round  (5:33)\u003cbr\u003e5. IV. Infernal Dance of King Kashchei  (3:46)\u003cbr\u003e6. V. Lullaby  (3:58)\u003cbr\u003e7. VI. Finale  (2:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e(arr. Stokowski) Petrushka - Suite \u003c\/span\u003e (15:33)\u003cbr\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. STOKOWSKI Introduction to Tchaikovsky Symphony No. 4  (1:32)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e10. 1st mvt. - Andante sostenuto - Moderato con anima  (15:52)\u003cbr\u003e11. 2nd mvt. - Andantino in modo di Canzona  (10:01)\u003cbr\u003e12. 3rd mvt. - Scherzo. Pizzicato ostinato. Allegro  (5:09)\u003cbr\u003e13. 4th mvt. - Finale. Allegro con fuoco  (9:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 25 November 1941*\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Russian Easter Overture  (0:35)\u003cbr\u003e2. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Russian Easter Festival Overture, Op. 36\u003c\/span\u003e  (12:39)\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Capriccio Espagnol  (0:15)\u003cbr\u003e4. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Capriccio Espagnol, Op. 34\u003c\/span\u003e  (14:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to Tchaikovsky Symphony No. 5  (0:43)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Andante - Allegro con anima  (14:04)\u003cbr\u003e7. 2nd mvt. - Andante cantabile con alcuna licenza  (13:08)\u003cbr\u003e8. 3rd mvt. - Valse. Allegro moderato  (5:56)\u003cbr\u003e9. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 29 November 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York \u003cbr\u003eexcept *Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 32: 06 \u003c\/b\u003e    \u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 79:00      CD2: 73:06   \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\/PASC596.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC596.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":31722907172925,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205533450574,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205533483342,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC596.jpg?v=1588325203"},{"product_id":"pasc596-cd","title":"STOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - 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PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eThis remarkable historic document demonstrates just how good a recording it was possible to make as long ago as 1942. It must surely rate as one of, if not the best sounding recordings I have ever encountered from that era. Things would improve dramatically in the years immediately after the end of the Second World War, but it is unusual to find such fidelity during the war years, especially outside Germany.\u003c\/p\u003e\n\u003cp\u003eThe source for this recording was a set of acetate discs apparently prepared for South American broadcasters which, by the sound of them, were never actually played. Comparisons to other sources, such as those used for a previous issue of this concert, indicate just how quickly and badly these delicate discs deteriorated with use. Indeed the bonus track on this release gives the listener some indication of the difference - taken from the English language acetates we hear the familiar indicators of wear and tear even after extensive declicking and cleaning up in the extended commentary that preceded the NBC broadcast .\u003c\/p\u003e\n\u003cp\u003eBy contrast the mint acetates which provide the musical content offer a fidelity one might normally expect from a good late-1950s mono vinyl pressing. For the most part they provided me with a very straightforward task, with XR remastering bringing out the full tonal range of the orchestra, with very low surface noise and an exceptionally full frequency range for an early 1940s recording. As is common with disc recordings there was some gradual loss of treble towards the end of each side, and side changes were pretty brutally chopped, with no overlap to allow for cross-fading. But this aside, the only other challenge was the missing first note! This was ultimately patched in from another \"digitally aged\" recording of more recent vintage, as my other sources of the Stokowski performance were of such lower sonic quality. The result is a seamless patch and and entirely convincing opening.\u003c\/p\u003e\n\u003cp\u003eIt is a shame, but entirely understandable, that we have no 1942 photo of Stokowski and Shostakovich together. As our sleevenotes detail, it's amazing that Stokowski (and a number of other major US-based conductors) were even able to get their hands on a copy of the score. I am very grateful though to Edward Johnson for digging out and sending me the 1958 photograph of composer and conductor which grace the cover of this release. Stokowski was a great champion of the Soviet composer's work. Now at last we have his only recording of the \"Leningrad\" Symphony in sound which truly does justice both to the work and to the performance.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eThese two 1944 recordings continue to astound me weeks after I first \nheard them. Culled from the same source which provided us with \nStokowski's 1942 Shostakovich \"Leningrad\" Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-leopold-stokowski\/products\/pasc527\" target=\"_blank\"\u003ePASC527\u003c\/a\u003e) they again confound expectations as to what a recording of this vintage should sound like.\u003c\/p\u003e\n\u003cp\u003eHere\n we find Stokowski conducting the brilliant NBC Symphony Orchestra in \nstunning renditions of Tchaikovsky's 6th Symphony and Romeo and Juliet \nfantasy overture - made all the more so by the frankly incredible sound \nquality of the recordings. At times, stereo aside, one might be forgiven\n for thinking some of these recordings had been made last week, rather \nthan nearly three-quarters of a century ago.\u003c\/p\u003e\n\u003cp\u003eNaturally they \nweren't originally quite this good. Pitch jumps in the symphony had to \nbe corrected, clicks and scratches evened out, and Pristine's XR \nremastering system employed to accurately re-equalise the sound and \nbring out the full glory of the NBC orchestra. \u003c\/p\u003e\n\u003cp\u003eWith a full \nfrequency range, exceptionally quiet sides allowing an extraordinarily \nwide dynamic range, and very little in the way of other flaws or \naudience noise to get in the way of the listening experience, one is \nalmost immediately drawn into the performances - and they are white hot,\n as Edward Johnson's excellent sleevenotes explain.\u003c\/p\u003e\n\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\"\u003ci\u003eIt was a rousing performance ... Mr. Stokowski led a dramatic performance that had special drive and crispness in the scherzo and that built up into a series of big climaxes in the last movement\u003c\/i\u003e.\" - New York Times, 1941\u003c\/p\u003e\n\u003cp\u003eExactly one month prior to the entry of the United States into World War II, on Armistice Day 1941, Leopold Stokowski conducted the NBC Symphony Orchestra in a rare performance for him of Beethoven's Symphony No. 9. As the NY Times reviewer pointed out, \"he chose a solemn day in a momentous time to set forth once more Beethoven’s affirmation of the brotherhood of man.\"\u003c\/p\u003e\n\u003cp\u003eIt's a performance that has never been heard in full since. A scheduling anomaly meant that whilst Stokowski performed the entire work before a packed house, radio listeners were treated only to the final choral movement. The first three movements were never broadcast, and as far as we can tell, have not been issued before.\u003c\/p\u003e\n\u003cp\u003eThey were however captured in a line recording, from which the present release is largely drawn, and preserved in stunning sound quality for the day. Indeed the finale, which was drawn from a recording of the broadcast (complete with closing commentary), whilst also of fine sound quality, struggles to quite match that heard in the opening three movements.\u003c\/p\u003e\n\u003cp\u003eIt should at this point be noted that a very short section at the end of the third movement was missing from the original source recording. We assume that the time recording was faded out at this point in order for the commentator to be heard on NBC radio. For this I have patched in a later recording by Stokowski, digitally aged to match the sound of the 1941 recording and spliced in so seamlessly that two Stokowski experts who heard it prior to release were unable to detect the change. It helped enormously that Stokowski's later performance matched the 1941 tempo almost exactly during that third movement. I have also reconstructed a shorter pause between third and fourth movements than was heard by the audience on the night - an extra delay was caused by the need to go \"on air\" prior to commencing the finale, as the Times' reviewer noted the following day.\u003c\/p\u003e\n\u003cp\u003eAnd so we present an entirely new Stokowski performance of the Choral Symphony. As you'll hear from the sample  movement (the second) on this page, it really is a stunning sounding performance - and one you won't wish to be without.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003ch1 align=\"center\"\u003e\n\u003cfont face=\"Arial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI\u003c\/span\u003e \u003cbr\u003econducts a British Music programme at the NBC\u003c\/span\u003e\u003c\/font\u003e\n\u003c\/h1\u003e\n\u003cp\u003e\n\u003cbr\u003eBritish-born Leopold Stokowski came into the world in what is now called\n    New Cavendish Street in London, just a block away from the BBC's\n    Broadcasting House. He attended St. Marylebone School, just up the road,\n    and sang in the choir of the adjoining St. Marylebone Parish Church. It was\n    here, as a 12-year-old choirboy, that he took over the performance of a\n    church service, perhaps choral evensong, when the regular choirmaster\n    failed to show up. The experience gave him a sleepless night and instilled\n    in him an overwhelming desire to become a conductor. He related these early\n    conducting ambitions when choosing his 'Desert Island Discs' for the BBC\n    radio show of that name in 1957 (it's readily available on YouTube!).\n\u003c\/p\u003e\n\u003cp\u003e\n    His musical precocity took him to the Royal College of Music in 1895 where,\n    at the age of 13, he was the youngest student at the time to be admitted.\n    Two of his fellow organ students, both a few years older, were Gustav Holst\n    and Ralph Vaughan Williams. These two were already firm friends, both\n    having a strong interest in English folk music. Stokowski's teachers at the\n    RCM included Sir Hubert Parry and Sir Charles Villiers Stanford. Needless\n    to say Stokowski could not remotely have anticipated that one day he would\n    be performing works by all four of these composers for American audiences.\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1902, the young Leopold became the organist at St. James's, Piccadilly.\n    Here he attracted the attention of the rector of St. Bartholomew's in New\n    York City. He had come to England to find a new music director for this\n    immensely fashionable church and was so impressed with the colourful\n    individuality of Stokowski's organ playing that he immediately offered him\n    the post of choirmaster.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski duly took up the appointment in 1905 and it was in the USA that\n    he made his career and where in 1915 he became an American citizen. During\n    those early years he spent his summers in Europe studying conducting. As a\n    result, his ambition to become an orchestral conductor was fully realised\n    in 1909 when he made his debut in Paris. The Cincinnati Orchestra was\n    looking for a new conductor and their representatives who heard the concert\n    were so impressed by the youthful maestro's \"remarkable qualities\" that he\n    was immediately offered the job.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's three-year apprenticeship in Cincinnati found him starting as\n    he meant to go on. He studied and learnt the basic repertoire but he also\n    included much that was being written by living composers. When it came to\n    English music, Elgar's made its first appearance in a Stokowski \/\n    Cincinnati concert with the Pomp and Circumstance March No. 1 in 1911.\n    Later that year, on 24 November 1911, came one of Stokowski's innumerable\n    US Premieres when he introduced Elgar’s 2nd Symphony to America. The\n    Cincinnati \u003cem\u003eTimes-Star \u003c\/em\u003ewas unpersuaded of the work’s merits: “The\n    composition is pleasant and interesting; but it is not great, nor in any\n    sense convincing.” Maybe that view still holds good even today, since none\n    of the great American orchestras have yet made a commercial studio\n    recording of the work!\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1912, Stokowski left Cincinnati for Philadelphia where he conducted\nGustav Holst's music for the first time with a performance of the    \u003cem\u003eJapanese Suite \u003c\/em\u003eon 15 October 1925 in yet another US Premiere. He\n    returned to Holst's music in 1934 when, on learning of the composer's\n    death, he conducted \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003ePlanets\u003c\/em\u003e by way of a tribute.\n\u003c\/p\u003e\n\u003cp\u003e\n    His next performance of \u003cem\u003eThe Planets\u003c\/em\u003e came about during his\n    three-season appointment as the NBC Symphony's chief conductor following\n    Toscanini's temporary withdrawal in 1941. The war had its own influence on\n    Stokowski’s NBC programmes and he often advocated music from the Allied\ncountries. England was duly represented on 14 February 1943 by what the    \u003cem\u003eNew York Times \u003c\/em\u003edescribed as “a remarkable performance of Holst’s\ngreat mystical tone-poem\u003cem\u003e.\u003c\/em\u003e” The critic from the daily    \u003cem\u003eBrooklyn\u003c\/em\u003e \u003cem\u003eEagle \u003c\/em\u003eadded that \"Stokowski knew, of course, how\n    to show \u003cem\u003eThe Planets\u003c\/em\u003e their orchestral brilliance most graphically,\n    while the orchestra lent its virtuosity to a good cause.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    A previous incarnation of this same NBC performance several years ago\n    elicited from critic Andrew Achenbach that it was “a \u003cem\u003ePlanets\u003c\/em\u003e\n    crammed full of interpretative incident, superbly played by a legendary\n    orchestra ... Stokowski’s broadcast evinces a giant theatricality and\n    abundant zeal that prove hypnotically compelling.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski returned to the work in 1956 when he made its first stereo\n    recording in Capitol's 'Full Dimensional Stereo Sound' with the Los Angeles\n    Philharmonic. This reading proved controversial in several ways and was\n    given short shrift in the \u003cem\u003eGramophone\u003c\/em\u003e by Trevor Harvey who in any\n    case confessed in print that he was no admirer of Stokowski. Even so, the\n    LP's total sales, on the original Capitol label together with its Music for\n    Pleasure reissue, reached nearly half-a-million copies in the UK which\n    wasn't bad going!\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's next traversal of \u003cem\u003eThe Planets\u003c\/em\u003e took place in the Royal\n    Albert Hall in 1963 with the London Symphony Orchestra. The programme was\n    all-British, with John Addison's \u003cem\u003eCarte Blanche\u003c\/em\u003e Ballet Suite and\n    Vaughan Williams's \u003cem\u003eTallis Fantasia\u003c\/em\u003e occupying the first half and\n    Holst coming after the interval. This time, as was often the case in those\n    days, the critical reactions to a \"live\" Stokowski performance could be\n    quite different to the reviews of one of his LPs. For example, one\n    commentator wrote of his LSO performance of \u003cem\u003eThe Planets\u003c\/em\u003e that\n    \"Stokowski evoked, with scarcely a vehement gesture, gusts and storms,\n    winged chatter, whimsical heartiness and the mystery of voices dying in\n    space,\" while another described him as \"a marvellous conductor; individual\n    certainly, eccentric even on occasion; but capable of achieving unique,\n    exciting and vastly stimulating results.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    But to return to the war-time NBC seasons and \u003cem\u003eA Shropshire Lad\u003c\/em\u003e by\n    George Butterworth. Doubtless Stokowski had heard Sir Adrian Boult's\n    performance in an all-British NBC broadcast in 1938 and decided to revive\n    it himself. Butterworth's idyllic orchestral rhapsody was to prove highly\n    influential on several British composers but as with the seven performances\n    on Pristine's \"Wartime NBC Premieres\" release (PASC 536) this was the only\n    occasion on which Stokowski conducted the work.\n\u003c\/p\u003e\n\u003cp\u003e\n    So to Vaughan Williams. Stokowski was - as with so many living composers at\n    the time - something of an RVW champion as far as American audiences were\n    concerned. He introduced \u003cem\u003eA\u003c\/em\u003e \u003cem\u003ePastoral Symphony\u003c\/em\u003e (RVW's 3rd)\nto his fellow Philadelphians in 1924 and followed that with the    \u003cem\u003eTallis Fantasia\u003c\/em\u003e two years later. He gave a blazing performance of\n    the 4th Symphony with the NBCSO in 1943 and made the first recording of the\n6th with the New York Philharmonic in 1949. He performed the    \u003cem\u003eSinfonia Antartica\u003c\/em\u003e in Houston in 1954 and played No. 8 in London's\n    Royal Festival Hall in 1957 in the delighted composer's presence. The\n    following year, on hearing of Vaughan Williams's death, he paid tribute by\n    conducting the US Premiere of RVW's last Symphony, his Ninth.\n\u003c\/p\u003e\n\u003cp\u003e\n    This leads us to the final work in this NBC selection and something of a\nrarity it is too! The original score of the    \u003cem\u003eFantasia on Christmas Carols\u003c\/em\u003e requires a baritone soloist, a choir\n    and an accompanying orchestra. However, it was also published in other\n    formats, including a version with a string orchestra and organ supplying\n    the accompaniment, or just an organ or a piano on its own.\n\u003c\/p\u003e\n\u003cp\u003e\n    Vaughan Williams's \u003cem\u003eSerenade to Music \u003c\/em\u003ehad also been published in\n    several formats, the original being for 16 voices and orchestra, though the\n    work can also be performed by orchestra alone. We can only speculate on\n    Stokowski's decision in the run-up to his Christmas 1943 concert but it\nseems likely that he took his cue from RVW's own orchestral version of the\u003cem\u003eSerenade to Music \u003c\/em\u003eand adopted the same procedure with the    \u003cem\u003eCarols Fantasia\u003c\/em\u003e. It therefore seems probable that he asked an NBC\n    'house copyist' to cue the vocal parts into the orchestral ones. Thus, for\n    example, the baritone solo at the start is played by a bassoon, while the\n    first choral entry is taken over by the strings. This orchestral version\n    proves an effective alternative to the choral original and one wonders why\n    Stokowski's idea hasn't been adopted and published, so that other\n    orchestras can play it in their own Christmas concerts!\n\u003c\/p\u003e\n\u003cp\u003e\n    To conclude, when it came to English music, Stokowski probably performed\n    more of it than any of his equally illustrious States-side podium\n    colleagues. In addition to those mentioned above, he played compositions by\n    Richard Arnell, Malcolm Arnold, Arnold Bax, Arthur Bliss, Havergal Brian,\n    Benjamin Britten, Henry Walford Davies, George Dyson, Edward German,\n    Kenneth Leighton, Ermest Moeran, Roger Quilter, Alan Rawsthorne, Edmund\n    Rubbra, Cyril Scott, Arthur Sullivan, Michael Tippett, William Walton and\n    David Wooldridge. Happily, broadcasts such as the ones presented here have\n    survived, thus giving us an opportunity to hear Stokowski's \"remarkable\n    qualities\" for ourselves!\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\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 Debussy'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\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\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eWhen the 88-year-old Leopold Stokowski conducted a work by Charles Ives with the London Symphony Orchestra in 1970, one critic referred to the maestro as \"the man who has done more for contemporary music in America than all the rest of his generation put together.\" Indeed, \u003ci\u003eThe New York Times\u003c\/i\u003e once estimated that Stokowski had given around 2,000 \"first performances\" (World Premieres, US Premieres, first broadcasts and so on) and we begin with one of them.\u003cbr\u003e\u003cbr\u003eAlan Hovhaness, American-born of Armenian-Scottish descent, was a highly prolific composer who found in Stokowski his foremost presenter of several World Premieres. These included \"Mysterious Mountain,\" especially written - in the composer's own words - for \"a very great and wonderful man.\" For his part, in his 1957 appearance on the BBC Radio show \"Desert Island Discs\" (you'll find the programme on YouTube!) Stokowski singled Hovhaness out as a considerable talent among the younger composers of the time.\u003cbr\u003e\u003cbr\u003eThe \"Exile\" Symphony was premiered in England in 1939 by the BBC Symphony under Leslie Heward and was introduced to America by Stokowski in 1942. The music evokes the terrible sufferings of the Armenian people during the First World War. Years later, Hovhaness was to replace the middle movement, here entitled \"Conflict,\" with a completely new one called \"Grazioso.\" Stokowski's NBC premiere broadcast remains the only complete extant recording of the \"Exile\" Symphony as first conceived.\u003cbr\u003e\u003cbr\u003eAlthough Stokowski was renowned for conducting numerous premieres, he was equally keen to perform new works introduced by others. He was already a staunch advocate of Stravinsky's music, having presented to America several of the composer's major works. These included \"The Rite of Spring\" in its concert and ballet presentations, as well as its first US recording. He also featured it, somewhat abridged and rearranged, in Walt Disney's \"Fantasia,\" thus ensuring its continuing popularity in concerts and on records.\u003cbr\u003e\u003cbr\u003eThe Symphony in C was premiered in Chicago in 1940 by Stravinsky himself. He was to conduct it several times with other American orchestras before it was taken up by Stokowski, who said of the work: \"It is remarkable for its simplicity and flowing cadence and has a certain 18th century flavour, with a wonderful expression of rhythm and counter-rhythm.\" The NBC radio premiere heard here was praised by Virgil Thomson for its \"detailed clarity and overall comprehension.\"\u003cbr\u003e\u003cbr\u003eLike so many other German musicians in the 1930s, Paul Hindemith fell foul of the Nazis and in 1940 had to settle in America. The Symphony in E flat was the first of his major works to be composed in the USA and was introduced by Mitropoulos and the Minneapolis Symphony in November the following year. The work consists of a vigorous first movement, a dirge-like second, a 'danse macabre' scherzo and a martial finale. Stokowski was sufficiently taken with the work to play it again with the Hollywood Bowl Symphony and the New York Philharmonic, doubtless revelling in its triumphant closing pages.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eTechnical note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDespite their age, these wonderfully preserved acetate disc recordings reveal an astonishing level of detail and sound quality and a full frequency response. It's easy to forget, when hearing them, just how old they are - at the time of writing nearly 80 years has passed since these performances took place. Not all of their imperfections have been eradicable, but these minor surface noises pale into insignificance against the majesty of Stokowski's 1942\/3 NBC orchestra and the sound quality captured here. Indeed these are some of the very finest quality recordings I've ever heard from this era. I would have liked to preserve the announcements from each of the performances, but to do so would have taken more space than is available on a single disc. In this instance therefore they have been cut and instead a short amount of applause left at the end of each work.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    Although Stokowski never recorded a complete Beethoven cycle, several of\n    the nine symphonies remained firmly in his repertoire during his long\n    conducting career. He played a Beethoven work for the first time in 1909\n    when, at the age of 27, he conducted the Cincinnati Orchestra in the 5th\n    Symphony. Sixty-five years later, aged 91, he performed Beethoven's music\n    for the last time when he gave an LSO concert that included the 8th\n    Symphony and the \"Eroica,\" both hailed by one critic for their \"striking\n    and imaginative performances.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski was among the first conductors to record many works that were -\n    and are - part of the regular concert repertoire. His first Beethoven disc,\n    recorded acoustically in 1920, was of the 8th Symphony's \"Allegretto\n    Scherzando\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\"\u003ePASC192\u003c\/a\u003e). With the advent of electrical recording, he and his\n    Philadelphians made the first American 78s of the 7th Symphony, an\n    exhilarating performance described by Mark Obert-Thorn as \"a reading of\n    immense vitality and rhythmic propulsion\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc483\"\u003ePASC483\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Next came the Beethoven 5th in another American \"first\" - a specially\n    recorded performance designed to introduce RCA's \"Program Transcription\"\n    LPs in 1931. They couldn't have been worse timed and as a result of the\n    great depression soon died a death. Then in 1934, Stokowski made the first\n    American recording of the \"Choral\" Symphony. Seven years later, in 1941, he\n    was given a three-season contract to take over the NBC Symphony during\n    Toscanini's temporary withdrawal and it was Beethoven's 9th Symphony which\n    featured in his second NBC concert (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc541\"\u003ePASC541\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    The NBC Symphony's players were of course used to performing Beethoven\n    under Toscanini's direction and after his year's absence, the great Italian\n    maestro returned as Stokowski's co-conductor. This arrangement prompted\n    critic David Hall to comment that \"the most spectacular combination of\n    performances and programming were the two Toscanini-Stokowski seasons.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    \"Spectacular\" is a word that can readily be applied to the performances\n    heard here, particularly the Beethoven 5th. The \"Pastoral\" Symphony in this\n    1942 broadcast is now the earliest complete Stokowski performance on\n    record, the \"Fantasia\" soundtrack version having been much abridged. As to\n    the 7th Symphony, Stokowski felt that something stated strongly just once\n    could be weakened by repetition, so he followed the precedents set in other\n    Beethoven symphonies by omitting the second appearance of the Trio in the\n    third movement.\n\u003c\/p\u003e\n\u003cp\u003e\n    Finally to Wagner, whose \"Prelude and Liebestod\" followed the Beethoven 7th in the 1942 broadcast heard here. A one-time church organist, Stokowski clearly enjoyed pulling out all the stops! 'Parsifal' was the only Wagner opera that he conducted complete, with a Philadelphia concert presentation in 1933. He also began making \"Symphonic Syntheses\" of Wagner's music dramas and the \"Good Friday Spell\" is followed by one of these arrangements. It is music from Act 3 evoking the world of the Knights of the Holy Grail and in this 'live' broadcast, Stokowski brings in a chorus from the opera's final pages. It is a wonderful effect not realised in his three orchestral recordings of the 'Parsifal' \"Synthesis\" and thus makes this performance unique in his immense discography.\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \"I'm very fond of Russian music\" Stokowski would often say in interviews\n    and, as with so many contemporary composers during his long career, he was\n    a foremost champion of the Russians, frequently performing works by\n    Rachmaninoff, Shostakovich, Prokofiev, Khachaturian, Scriabin and many\nothers. He was also an advocate of Stravinsky's music, with\u003cem\u003eThe Rite of Spring\u003c\/em\u003e, \u003cem\u003eLes Noces\u003c\/em\u003e, \u003cem\u003eOedipus Rex\u003c\/em\u003e,\u003cem\u003eThe Song of the Nightingale\u003c\/em\u003e and the    \u003cem\u003eSymphonies of Wind Instruments\u003c\/em\u003e all receiving their US premieres\n    under his direction.\n\u003c\/p\u003e\n\u003cp\u003e\nOn Philadelphia Orchestra 78s too, he made the first US recordings of    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e and \u003cem\u003ePetrushka\u003c\/em\u003e, from which he devised\nthe colourful Suite heard here. However, it was \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eFirebird\u003c\/em\u003e Suite which appealed to Stokowski the most. He recorded\n    this work no fewer than eight times, starting with an acoustic set in 1924\n    (PASC192, also featuring \u003cem\u003eFireworks\u003c\/em\u003e). Incidentally, he occasionally\n    added the effective clang of a tubular bell at the start of the \"Infernal\n    Dance,\" as in the brilliantly played NBC performance on this CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovky's 4th Symphony also featured in Stokowski's list of numerous\n    disc premieres, its first American recording having been made with the\n    Philadelphia Orchestra in 1928. He was to re-record it for Victor two days\n    after the broadcast heard here in a 78rpm set that has been described as\n    \"fiery and impetuous\" and even \"wilful,\" words that are also applicable to\n    the preceding live performance.\n\u003c\/p\u003e\n\u003cp\u003e\nRimsky-Korsakov was also much in Stokowski's repertoire, with    \u003cem\u003eScheherazade\u003c\/em\u003e excerpted on acoustics (PASC476) and recorded five\ntimes thereafter. He made the first American 78s of the    \u003cem\u003eRussian Easter Festival Overture\u003c\/em\u003e in 1929 and this he also\n    re-recorded with the NBC Symphony for Victor shortly after its 1942\n    broadcast. However, for this performance he made a colourful emendation.\n    About half-way through, Rimsky-Korsakov directs a solo trombone to depict\n    the chanting of a Russian Orthodox priest during an Easter service. At this\n    point, Stokowski decided on what might be called the \"authentic\" touch and\n    engaged Nicola Moscona to intone the Old Slavonic text instead. On the\n    other hand, in the case of the dazzling \u003cem\u003eSpanish Caprice\u003c\/em\u003e, Stokowski\n    rather curiously didn't get round to recording this work commercially until\n    1973, a few months before his 91st birthday!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, it is Tchaikovsky who occupies a major portion of Stokowski's\n    discography and we conclude with the 5th Symphony. He recorded the second\n    movement acoustically in 1923 (PASC441) and one of his commercial LPs -\n    taped in 1953 with his own special team of top-flight New York musicians -\n    can be found on PASC188. The same adjectives that have described\n    Stokowski's reading of the 4th Symphony can also be applied to the 5th.\n    Small cuts in both will be noted, though abridging Tchaikovsky in those\n    days was quite common - witness Toscanini's deletion of over 100 bars from\n    the \u003cem\u003eManfred\u003c\/em\u003e Symphony's finale! Nevertheless, in Stokowski's hands,\n    the NBC Symphony gives these Tchaikovsky symphonies virtuosic performances\n    as visceral, intense and as passionate as they come.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cdiv align=\"center\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducts Brahms at the NBC\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\"Joy!\" exclaimed W. R. Anderson in the \u003ci\u003eGramophone \u003c\/i\u003eof July 1930, \"Brahms's Third at long last. Our prayers have prevailed.\" He was reacting with delight to the first complete 78rpm set of the work in which Leopold Stokowski conducted the Philadelphia Orchestra. The review concluded enthusiastically: \"This is a grand orchestra and a constructive conductor; and in this music of fine nerve and developed muscle we find fullness of joy.\"\u003cbr\u003e\u003cbr\u003eStokowski began his 60-year recording career in 1917 with acoustic 78s of Brahms's Hungarian Dances\u003ci\u003e \u003c\/i\u003eNos. 5 and 6 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC192\" target=\"_blank\"\u003ePASC192\u003c\/a\u003e). In 1921 he made the first recording of any of the movements in Brahms's symphonies, the 3rd Symphony's \u003ci\u003eAllegretto \u003c\/i\u003e(\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC476\" target=\"_blank\"\u003ePASC476\u003c\/a\u003e). With the advent of electrical recording, the Philadelphians under his direction became the first orchestra to record a complete cycle of all four symphonies (1927-1933). (No. 1: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC500\" target=\"_blank\"\u003ePASC500\u003c\/a\u003e; No.3: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC540\" target=\"_blank\"\u003ePASC540\u003c\/a\u003e; Nos 2 \u0026amp; 4: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC562\" target=\"_blank\"\u003ePASC562\u003c\/a\u003e).\u003cbr\u003e\u003cbr\u003eStokowski once confessed that he \"always wanted to be first\" and Brahms featured in quite a few of his first engagements over the years. He played a Brahms symphony for the first time - the 3rd - in his debut season with the Cincinnati Orchestra in 1909. Three years later, he conducted the London Symphony in another debut, this time featuring the 1st Symphony. Also in 1912 came another new appointment, as the Philadelphia Orchestra's chief conductor, and the Brahms 1st was played in his debut concert with them.\u003cbr\u003e\u003cbr\u003eFast forward to 1941 and Stokowski's three-season appointment as the NBC Symphony's chief conductor following Toscanini's temporary withdrawal. In his first NBC concert, it was Brahms who yet again featured in a Stokowski debut, with the 3rd Symphony presented here. In his introduction, he spoke of the work's contrasting moods: \"Fiery agitation, melancholy, tranquillity, childlike simplicity.\" Following a genuine \u003ci\u003eAllegro con brio\u003c\/i\u003e at the start, these moods were then illustrated by some extreme tempo changes. Various musicologists consider this work \"difficult to bring off\" but for his part, Stokowski's somewhat rhapsodic approach, as evidenced in his two commercial recordings and also this broadcast, was notably consistent.\u003cbr\u003e\u003cbr\u003eIn the case of the Brahms 4th Symphony, Stokowski's performances were invariably speedy, with the codas to the \u003ci\u003eAllegro \u003c\/i\u003emovements having the \u003ci\u003estringendo \u003c\/i\u003epedal forcefully applied each time. As it happens, it was the Brahms 4th which Stokowski conducted in his final UK public concert in 1974. \"A performance to set one cheering\" wrote Edward Greenfield in \u003ci\u003eThe Guardian\u003c\/i\u003e, \"as indeed the audience did after the first movement.\"\u003cbr\u003e\u003cbr\u003eEven at the age of 95, Stokowski hadn't quite finished with Brahms. In 1977 he recorded the 2nd Symphony with the National Philharmonic Orchestra. Mortimer Frank in \u003ci\u003eFanfare \u003c\/i\u003ehailed it as \"a great Brahms Second,\" while in Classic Record Collector, Robin Golding remarked: \"For me, Stokowski has suddenly become a conductor of world class.\" Some of us knew he was that the first time we heard him!\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    When Stokowski died at the age of 95 in 1977, the vast 60-years discography\n    of his commercial recordings revealed three composers heading the list:\n    Bach, mostly in his own orchestral transcriptions; Tchaikovsky, whom he\n    once declared was his favourite Russian composer; and Wagner, whose music\n    Stokowski also frequently performed both in the concert hall and recording\n    studio.\n\u003c\/p\u003e\n\u003cp\u003e\n    Born in 1882, his first experience as a conductor came when he sang in the\n    choir at St. Marylebone's Parish Church in London. One evening the regular\n    choirmaster was unable to take a rehearsal, so the 12-year-old Leopold\n    stood in for him. He was later to confess that he had a sleepless night, as\n    he suddenly realised that conducting was something he wanted to do above\n    all else. His musical precocity led him the following year to become the\n    youngest student at that time to enter the Royal College of Music. His work\n    as a youthful organist and choirmaster in several London churches led in\n    1905 to a similar appointment at St. Bartholomew's in New York. Here his\n    brilliantly played organ recitals drew large and fashionable crowds,\n    entranced not only by his playing of Bach but also by his own organ\n    arrangements of orchestral music, including many works by Wagner.\n\u003c\/p\u003e\n\u003cp\u003e\n    His musical direction of church services also stood him in good stead for\n    the time when he could fulfil his ambition to be an orchestral conductor.\n    That day arrived in 1909 when he made his official conducting debut with\n    the Colonne Orchestra. The Cincinnati Orchestra was looking for a new\n    conductor and two of their representatives were in the Paris audience.\n    Stokowski received an ovation and the representatives' description of him\n    as \"a magnetic conductor\" ensured his immediate Cincinnati appointment.\n\u003c\/p\u003e\n\u003cp\u003e\n    His first concert with them the following November included works by\nMozart, Weber and Beethoven. The programme ended with music by Wagner - the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e and the \u003cem\u003eRide of the Valkyries - \u003c\/em\u003eand with\n    these two works Stokowski conducted Wagner's orchestral music for the very\n    first time. The \u003cem\u003eSiegfried Idyll,\u003c\/em\u003e an eloquent birthday present from\n    Wagner to his wife Cosima, was originally scored for a small ensemble and\n    later expanded for larger forces. Although Stokowski recorded numerous\n    works by Wagner commercially, the \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was not among\n    them, so this NBC broadcast is something of a rarity.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like Brahms, the music of Wagner was to pop up in a number of Stokowski\n    debuts. For example, his first concert with the London Symphony Orchestra\n    in 1912 began with the \u003cem\u003eMastersingers\u003c\/em\u003e Overture. Later that year,\n    his appointment as the Philadelphia Orchestra's new chief conductor found\n    the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture concluding his opening concert with them.\n    In 1917, when he and his Philadelphians began making 78s, Wagner was\n    naturally included. (All the Stokowski \/ Wagner acoustics have been issued\n    on Pristine Audio: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\" target=\"_blank\"\u003ePASC 192\u003c\/a\u003e, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc441\" target=\"_blank\"\u003ePASC 441\u003c\/a\u003e and \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc471\" target=\"_blank\"\u003ePASC 471\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    As it happens, the concert listings for Stokowski's Philadelphia seasons\n    reveal that when it came to single-composer programmes, Wagner topped the\nbill. The first of these, in December 1912, included the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e again. However, Stokowski never conducted a\n    complete Wagner music-drama in the opera house. The nearest he came was\n    when he gave a concert performance of \u003cem\u003eParsifal\u003c\/em\u003e, its three acts\n    given over successive evenings during Easter Week in 1933. It was also\n    around this time that he began creating \"Symphonic Syntheses\" of Wagner's\n    operas and his own arrangement of music from Act 3 of \u003cem\u003eParsifal\u003c\/em\u003e was\n    duly recorded by his Philadelphians in 1934 and repeated for his NBC\n    audience in 1942 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc591\" target=\"_blank\"\u003ePASC 591\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eTristan and Isolde\u003c\/em\u003e\n    was also given the \"Symphonic Synthesis\" treatment, though it exists in\n    more than one version. His first recording, made in 1932, began with the\n    Act 1 Prelude and lasted 35 minutes. He was to record this \"long version\"\n    again for a 1950 LP with his \u003cem\u003ead hoc\u003c\/em\u003e 'Symphony Orchestra' (PASC\n    167). Later, he utilised music just from Acts 2 and 3, originally entitled\n\"Liebesnacht\" and \"Liebestod,\" and this became the \"Love Music\" from    \u003cem\u003eTristan and Isolde\u003c\/em\u003e. Stokowski wrote: \"All through the three acts\n    of \u003cem\u003eTristan\u003c\/em\u003e is sounding the despair and ecstasy of love, but its\n    supreme expression is in the garden scene of the second act and in the last\n    scene of the third act ... This love music continues its overpowering\n    eloquence when words cannot continue. It is the supreme and ultimate of the\n    poetry of love.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    The Prelude to \u003cem\u003eLohengrin\u003c\/em\u003e was one of the many orchestral works that\n    Stokowski transcribed for organ during his St. Bartholomew's period. He\n    conducted it for the first time in Cincinnati during his opening season\n    there and recorded it acoustically in 1924 with the Philadelphia Orchestra.\nHe also recorded an acoustic 78 of a hugely abridged version of    \u003cem\u003eWotan's Farewell and Magic Fire Music\u003c\/em\u003e, actually its closing pages,\n    though his later recordings with the New York Philharmonic and Houston\n    Symphony were both complete. The musical evocation of Wotan, ruler of the\n    gods, putting his disobedient daughter Brünnhilde to sleep on a rock\n    surrounded by flickering flames is well realised in Stokowski's\n    grandiloquent arrangement and provided a splendid addition to that\n    evening's NBC Symphony concert.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    It was in 1951 that Stokowski became an international maestro, his\n    conducting career up to then having been spent almost exclusively in\n    America. In fact, he'd been hard at work during the post-war period as one\n    of the New York Philharmonic's guest conductors and would dearly have liked\n    to become its principal music director. However, that position went to\n    Dmitri Mitropoulos instead. This left Stokowski free to make annual\n    appearances all over the world, conducting many of the great orchestras in\n    Europe and elsewhere.\n\u003c\/p\u003e\n\u003cp\u003e\n    His concerts in England were notable highlights of each season and were\n    invariably sold out. One such occasion occured in June 1970, when he\n    conducted the London Symphony Orchestra in an adventurous programme which\n    included the first performance outside America of Charles Ives's 2nd\n    Orchestral Set. Music critic Peter Heyworth wrote: \"That astonishing old\n    wizard, now in his eighty-ninth year, showed that those supremely eloquent\n    hands have lost none of their cunning ... And how characteristic it is that\n    a man who has done more for contemporary music in America than all the rest\n    of his generation put together should choose to advocate this problematic\n    score.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Ives was among the countless American composers whom Stokowski championed,\n    his 1965 performance of the Ives 4th Symphony being just one of the\n    innumerable World Premieres he presented over his six-decades conducting\n    career. In particular, his three-season appointment as the NBC Symphony's\n    chief conductor from 1941-44 found him performing the works of nearly two\n    dozen contemporary American composers. (Several have already been issued on\n    Pristine CDs - Copland, Lavalle, Hanson and Antheil on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc536\" target=\"_blank\"\u003ePASC 536\u003c\/a\u003e, and\n    Hovhaness on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc587\" target=\"_blank\"\u003ePASC 587\u003c\/a\u003e - all 'first performances' of one sort or another.)\n\u003c\/p\u003e\n\u003cp\u003e\nThe present selection of Americana starts with \u003cem\u003eA\u003c\/em\u003e \u003cem\u003eSymphonic Patrol\u003c\/em\u003e by \u003cb\u003eLamar Stringfield\u003c\/b\u003e (1897-1959). It dates from\n    1931 and was described by the composer as a memorable event in a little\n    Southern village with the sound of beating drums drawing near. \"People -\n    black and white alike - turn their heads and listen to the approaching\n    procession. It is their day. The strutting drum and bugle corps passes in\n    review, sounding a barbaric rhythm of proud hearts.\" It has also been\n    suggested that the piece portrayed the marching of slaves towards freedom,\n    the slow middle section evoking their singing of a gospel-like hymn.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eMorton Gould\u003c\/b\u003e (1913-1996) was another composer much championed by Stokowski.\n    His \u003cem\u003eChorale and Fugue in Jazz\u003c\/em\u003e had been given its World Premiere in\n    Philadelphia in 1936, while the \u003cem\u003eDance Variations\u003c\/em\u003e of 1953 were\n    given their first recording that same year by Stokowski and the San\n    Francisco Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc274\" target=\"_blank\"\u003ePASC 274\u003c\/a\u003e). The \u003cem\u003eSpirituals\u003c\/em\u003e heard here were\n    first performed under the composer's baton in 1941. He wrote: \"The songs\n    range from strictly spiritual ones that are escapist in feeling, to those\n    having tremendous depth and impact. My idea was to get five widely\n    contrasted moods. 'Proclamation' has a dramatic religious intensity.\n    'Sermon' is a sort of lyrical folk tale. 'A Little Bit of Sin' is humorous\n    and good-natured. 'Protest\u003cem\u003e'\u003c\/em\u003e is grim and crying out, while\n    'Jubilee' is a festive dance-like piece.\" When Stokowski reached the age of\n    90 in 1972, numerous musicians from all over the world sent him birthday\n    greetings. Morton Gould wrote: \"We are in your debt for having explored,\n    stimulated, enhanced and guided the sound of our music with your genius.\"\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003ePaul Creston\u003c\/b\u003e (1906-1985) also found in Stokowski a considerable advocate of\n    his music, notably when the maestro included his \u003cem\u003eToccata \u003c\/em\u003ein a\n    special concert marking his 50 years as a conductor in 1958. The 'Scherzo'\n    from Creston's 1st Symphony of 1940 was recorded the following year by the\n    All-American Youth Orchestra and it was often included in Stokowski's\n    concerts as a separate number. The \u003cem\u003eChant of 1942\u003c\/em\u003e was the\n    composer's \"personal reaction to the tragic events of that year - an\n    expression of sadness and indignation but also hope,\" this last feeling\n    being portrayed at the end by a triumphant marching section. Stokowski's\n    NBC performance was its radio premiere.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eWilliam Schuman\u003c\/b\u003e (1910-1992) similarly had a wide range of emotions in mind\n    when he composed his \u003cem\u003ePrayer, 1943. \u003c\/em\u003e\"This work is not programme\n    music,\" he wrote, \"there is no story, nor any realistic event being\n    depicted. The title is merely some indication of the kind of feeling that\n    went into the composition.\" Solemnity characterises the work for the most\n    part, though it is not without energetic moments that introduce a confident\n    mood. However, it ends not in triumph but in a chant-like prayerful\n    close.This was in fact the first time Stokowski conducted any of Schuman's\nmusic and he was to play the work again, under its new title    \u003cem\u003ePrayer in Time of War,\u003c\/em\u003e with the New Orleans Philharmonic-Symphony\n    in 1955.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eRobert Kelly\u003c\/b\u003e (1916-2007) began his studies at the Juilliard School of Music\n    in 1935 and was accepted as a composition student by the Curtis Institute\n    of Music in Philadelphia three years later. His \u003cem\u003eAdirondack Suite\u003c\/em\u003e\n    dates from 1941 and its atmospheric 'Sunset Reflections' movement was\n    included by Stokowski in a programme that ended with the Brahms 4th\n    Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc602\" target=\"_blank\"\u003ePASC 602\u003c\/a\u003e). Kelly's little piece was receiving its first\n    performance and was described by Stokowski as \"impressions of sunset in the\n    mountains, lyrical and poetic, with a quick vibrating rhythm like the\n    pulsations of light.\"\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eVirgil Thomson\u003c\/b\u003e (1896-1989) was noted both as a music critic and a composer\n    of symphonies, operas, ballets and film scores. In 1936 he was commissioned\n    to write the music for \u003cem\u003eThe Plow that Broke the Plains\u003c\/em\u003e, a short\n    documentary which revealed the disastrous effect that uncontrolled farming\n    was having on the American and Canadian prairies at the time. Thomson's\n    score for the soundtrack was the basis of a concert suite that the composer\n    himself premiered in Philadelphia in 1943. It consists of six short\n    movements, their titles reflecting what was seen on the screen. Stokowski's\n    NBC broadcast the following year was succeeded in turn by the work's first\n    recording, a set of RCA Victor 78s on which he conducted the Hollywood Bowl\n    Symphony, one of several orchestras that Stokowski himself created. In\n    fact, he was sufficiently taken with the work to re-record it with the\n    Symphony of the Air for Vanguard in 1961. With its mixture of folk music,\n    popular melodies and religious themes, it is probably the most 'American'\n    work in this compendium.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eCarlton Cooley\u003c\/b\u003e (1898-1981) was one of America's foremost viola players. He\n    joined the Philadelphia Orchestra at the age of 21, became Principal\n    Violist of the Cleveland Orchestra in 1922 and took up a similar position\n    with the NBC Symphony in 1937. He also authored a number of compositions,\n    the \u003cem\u003eEastbourne Sketches\u003c\/em\u003e being three musical reminiscences of \"a\n    holiday spent at that delightful resort on the English Channel during the\n    summer of 1924.\" The work was scored for strings and the opening\n    'Promenade' heard here, in which the composer himself led the viola\n    section, evokes \"the care-free spirit along the boardwalk, the pranks of\n    the bathers, a small band and the town crier.\"\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eRoy Harris\u003c\/b\u003e (1898-1979) composed an enormous number of works in every\n    category imaginable, making him one of the most prolific of American\n    composers. However, it was his 3rd Symphony, premiered by Koussevitzky in\n    1939, which made his name and for which he is probably still best known.\n    His \u003cem\u003eFolk Rhythms of Today\u003c\/em\u003e was another of those war-time works that\n    Stokowski championed during his NBC tenure. It had its origins in a ballet\n    called \u003cem\u003eWhat So Proudly We Hail \u003c\/em\u003eand its rambunctious nature\n    provides a suitably bright and breezy finale to this colourful all-American\n    programme.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003e\n        With acknowledgements to Adrien Strugeon for his help in researching\n        the above composers.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    In his 1947 collection of essays entitled \u003cem\u003eMi Contra Fa\u003c\/em\u003e, the\n    self-styled 'Machiavellian Musician' Kaikhosru Shapurji Sorabji had this to\n    say about 'The Art of the Arranger': \"The great transcriber expounds,\n    enlarges and amplifies matter and thought inherent in the original text and\n    makes the original a \u003cem\u003epoint de départ\u003c\/em\u003e for a great new creation.\"\n    Sorabji went on to discuss the great piano transcriptions of such masters\n    as Godowsky, Liszt and Busoni but his words could equally apply to many of\n    the orchestral arrangements which have stood the test of time, headed\nnaturally enough by Ravel's orchestration of Mussorgsky's    \u003cem\u003ePictures at an\u003c\/em\u003e \u003cem\u003eExhibition \u003c\/em\u003efor solo piano but also\n    including many of Leopold Stokowski's famous \"Symphonic Transcriptions.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    In considering the Bach arrangements heard here, we should not forget that\n    JSB was himself the foremost borrower of many of his contemporaries' works.\n    Indeed, his reworkings of the music of Buxtehude, Telemann, Corelli,\n    Couperin, Albinoni, Marcello and others were often very free adaptations,\n    rather than straightforward arrangements. A classic example is Bach's\n    Concerto for Four Harpsichords and Orchestra in A minor, a technical tour\n    de force based on Vivaldi's Concerto for Four Violins in B minor.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski was of course familiar with Bach's keyboard works from his early\n    days as a church organist, both in London and New York. His recitals were\n    said to have dazzled listeners, not only with his playing of Bach but also\n    assorted orchestral pieces arranged for the organ. Indeed, on one occasion,\nat the end of a St. Bartholomew's recital, he let rip with    \u003cem\u003eThe Ride of\u003c\/em\u003e \u003cem\u003ethe Valkyries\u003c\/em\u003e, only to be sternly admonished\n    by a local critic for playing music of such \"unchurchliness\"!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, Stokowski soon moved with alacrity from the organ console to the\n    conductor's podium, learning the basic repertoire during his three years\n    with the Cincinnati Orchestra. A few of Bach's instrumental works found\n    their way into his concerts there but with his move to Philadelphia in\n    1912, his repertoire became much more extensive and widespread.\n\u003c\/p\u003e\n\u003cp\u003e\n    With much nostalgia, he looked back to his church organist days,\n    recollected the Bach works he played in his youth and decided to transcribe\n    them for his new Philadelphia audience. The most popular orchestration of\nany of Bach's organ works is undoubtedly Stokowski's transcription of the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e. This received its premiere on 8\n    February 1926, its first recording being made the following year. That\n78rpm shellac disc was a phenomenal best seller and was hailed in the    \u003cem\u003eGramophone\u003c\/em\u003e as \"one of the most exciting achievements of the\n    American orchestra ... the only word is 'magnificent.' Every organist has\n    his ideal conception of how he would like this arranged for orchestra but I\n    do not think any will withhold very high praise indeed to the transcriber\n    and the players.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's transcription was to find even larger world-wide fame when it\n    was featured in Walt Disney's \u003cem\u003eFantasia\u003c\/em\u003e. As a result, many\n    conductors have included it their concert repertoire and it has been\n    commercially recorded by Wolfgang Sawallisch and Yannick Nézet-Séguin,\n    former and present conductors of the Philadelphia Orchestra, as well as\n    José Serebrier and Matthias Bamert, Stokowski's associates during his time\n    with the American Symphony Orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    Less well known perhaps is the \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e from Book 1 of\n    the Well-Tempered Clavier. This arrangement was given its first performance\n    as well as its first recording in 1927. It was also the opening item on\n    Stokowski's debut concert with the NBC Symphony in 1941 and is one of his\n    most solemn and reflective Bach transcriptions.\n\u003c\/p\u003e\n\u003cp\u003e\n    As is well-known, Bach himself often re-used his own music in different\n    works and we have an example in the \u003cem\u003eArioso\u003c\/em\u003e heard next. It is the\n    slow movement from his Keyboard Concerto No. 5 in F minor as well as the\nopening \"Sinfonia\" to the Cantata No. 156    \u003cem\u003eIch steh mit einem Fuß im Grabe. \u003c\/em\u003eIn the \"Sinfonia,\" Bach gives the\n    melody to the solo oboe throughout but in Stokowski's version, it is played\n    by the massed strings.\n\u003c\/p\u003e\n\u003cp\u003e\n    Bach used the Lutheran chorale \u003cem\u003eEin Feste Burg \u003c\/em\u003eon a number of\n    occasions and Stokowski made three versions of it himself. The first one -\n    a \"short\" version - was recorded on a 10\" Philadelphia Orchestra disc in\n1933. It was this arrangement that he used to mark his movie debut in    \u003cem\u003eThe Big Broadcast of 1937\u003c\/em\u003e. He then expanded it to a longer version\n    and this had its first recording in 1939. Two years later, in a New York\n    Philharmonic concert, he introduced a third version which he played again\n    with the NBC Symphony in 1942. It's a real curiosity, in which the Lutheran\n    chorale is interspersed with an assortment of woodwind cadenzas. Evidently\n    Stokowski decided that the second \"long\" version was the best of the three\n    and it was that which he re-recorded on two further occasions. The NBC\n    performance of the third version is presented here in its only extant\n    recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    When Stokowski was invited onto the BBC's long-running radio programme\n    \"Desert Island Discs\" in 1957, the first of the eight records he chose to\n    be marooned with was a Bach Chorale Prelude. He transcribed several of\n    these and of \u003cem\u003eWir glauben all' an einen Gott\u003c\/em\u003e, he wrote: \"In giving\n    this music orchestral expression, I have tried to imagine what Bach would\n    do if he had the vast resources of the modern orchestra as his instrument,\n    instead of the more limited instrumental means of his time.\" Stokowski\n    added that the music is an organ fugue and that the pedal theme \"has the\n    sound of giant-like strides up and down the octave - from which comes the\n    familiar name of the 'Giant Fugue'.\" This performance began the NBC\n    broadcast of 6 December 1942 and was immediately followed by the next piece\n    without a pause.\n\u003c\/p\u003e\n\u003cp\u003e\nIt is the middle movement of the organ    \u003cem\u003eToccata, Adagio and Fugue in C major\u003c\/em\u003e and features what Stokowski\n    described as \"the balance between the intellectual and emotional sides of\n    Bach's personality. It has the improvisational freedom of so much of Bach's\n    music. Possibly the germ of its themes and the mood of its feeling stem\n    from an occasion when Bach was improvising on the organ.\" Stokowski and his\n    Philadelphians made the first recording of the piece in 1933 but he never\n    re-recorded it commercially, thus making his NBC performance something of a\n    rarity.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eEs is vollbracht \u003c\/em\u003e\n    comes from the second part of the St. John Passion where it is a solo aria\n    for alto. The opening words translate as \"It is accomplished; what comfort\n    for suffering human souls. I can see the end of the night of sorrow.\" With\n    the words \"The hero from Judah ends his victorious fight!\" the music\n    brightens up and a solo trumpet emulates the alto part, the music then\n    reverting to the grave solemnity with which the piece began.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eChrist lag in Todesbanden\u003c\/em\u003e\n    is another of the organ Chorale Preludes which Stokowski transcribed for\n    orchestra. Bach based it on an Easter Hymn by Martin Luther which itself\n    was derived from earlier examples of the melody. Stokowski's arrangement is\n    sombrely scored and was another of the Bach transcriptions which he\n    recorded commercially only once, on a Philadelphia 78 in 1931.\n\u003c\/p\u003e\n\u003cp\u003e\n    To complete the entire selection of Bach arrangements which Stokowski\n    performed, and in some cases introduced, during his three seasons as the\nNBC Symphony's chief conductor, we hear the mighty    \u003cem\u003ePassacaglia and Fugue in C minor. \u003c\/em\u003eBy a remarkable coincidence this\n    was the very last work that he played on his final NBC Symphony programme\nand - rather like a pair of bookends - it mirrored the    \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e with which he opened his first NBC concert\n    three years earlier!\n\u003c\/p\u003e\n\u003cp\u003e\n    This was in fact one of Stokowski's earliest Bach transcriptions and it had\nits premiere on 10 February 1922. As with the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e, he recorded it several times over\n    the years, the first occasion with the Philadelphia Orchestra in 1929 and\n    the last with the Czech Philharmonic shortly after his 90th birthday in\n    1972. In his published score he wrote: \"Bach's Passacaglia is in music what\n    a great Gothic cathedral is in architecture - the same vast conception -\n    the same soaring mysticism given eternal form. Whether played on the organ,\n    or by the greatest of all instruments - the orchestra - it is one of the\n    most divinely inspired creations ever conceived.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    To conclude, we turn from arranged Bach to an appropriate non-transcribed\n    finale - the closing chorus from the St Matthew Passion, sung in an English\n    edition: \"Here yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O\n    Saviour blest; rest Thou calmly, Thou calmly, calmly rest.\" This was a work\n    Stokowski conducted several times over the years, starting in 1907 when he\n    was organist and choirmaster at New York's St Bartholomew's Church. His\n    biographer Oliver Daniel was to remark that \"it was surely one of the\n    earliest American performances of the complete work.\" Stokowski also\n    featured it in his very last concerts with the Philadelphia Orchestra in\n    1941, following his resignation from an ensemble he had built into one of\n    the world's finest. This NBC performance of the final chorus is again\n    something of a rarity, insofar as Stokowski's discography is concerned, but\n    it makes a suitable conclusion to a compendium of music by the maestro's\n    declared favourite composer.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\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\"\u003eSTOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7 in C, Op. 60 \"Leningrad\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegretto  (28:17)\u003cbr\u003e2. 2nd mvt. - Moderato (poco allegretto)  (10:50)\u003cbr\u003e3. 3rd mvt. - Adagio  (17:51)\u003cbr\u003e4. 4th mvt. - Allegro non troppo  (15:55)\u003cbr\u003e\u003cbr\u003e5. Bonus track: Radio Introductory Commentary  (6:41)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski \u003c\/b\u003eand \u003cb\u003eShostakovich\u003c\/b\u003e, taken in 1958\u003cbr\u003e\u003cbr\u003eLive concert broadcast, 13 December 1942\u003cbr\u003eCarnegie Hall, New York City\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  79:34\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eSTOKOWSKI conducts Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eRomeo and Juliet - Fantasy Overture  (20:34)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eTCHAIKOVSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 6 in B minor, Op. 74 \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Adagio - Allegro non troppo  (19:39)\u003cbr\u003e3. 2nd mvt. - Allegro con grazia  (8:04)\u003cbr\u003e4. 3rd mvt. - Allegro molto vivace  (8:20)\u003cbr\u003e5. 4th mvt. - Adagio lamentoso  (10:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  67:29    \u003cbr\u003e\u003cbr\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTchaikovsky \u003cb\u003eRomeo \u0026amp; Juliet\u003c\/b\u003e\u003cbr\u003eBroadcast of 16 January 1944\u003cbr\u003e\u003cbr\u003eTchaikovsky \u003cb\u003eSymphony No. 6\u003c\/b\u003e\u003cbr\u003eBroadcast of 30 January 1944\u003cbr\u003e\u003cbr\u003eLive broadcast concerts from RCA Studio 8H, Radio City, New York City\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  67:29    \u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\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\"\u003eSTOKOWSKI Wartime NBC Premières (1942-44) - PASC536\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003eWartime NBC Premières\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC ONE\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCOPLAND \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eShort Symphony (Symphony No. 2)\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - quarter note = 144  (4:31)\u003cbr\u003e2. 2nd mvt. - half note = 44  (4:51)\u003cbr\u003e3. 3rd mvt. - quarter note = 144  (6:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 9 January 1944 - US Première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOHAUPT \u003c\/b\u003eConcerto for Orchestra based on Red Army Songs\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Allegro  (6:39)\u003cbr\u003e5. 2nd mvt. - Largo  (8:30)\u003cbr\u003e6. 3rd mvt. - Vivace  (6:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 19 December 1943 - World première\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLAVALLE \u003c\/b\u003eSymphonic Rhumba\u003c\/span\u003e  (5:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of  6 December 1942 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANSON \u003c\/b\u003eSymphony No. 4, 'Requiem', Op. 34\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Kyrie: Andante inquieto  (7:08)\u003cbr\u003e9. 2nd mvt. - Requiescat: Largo  (4:38)\u003cbr\u003e10. 3rd mvt. - Dies irae: Presto  (2:14)\u003cbr\u003e11. 4th mvt. - Lux aeterna: Largo pastorale  (7:57)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 2 January 1944 - Radio première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC TWO\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAMFITHEATROF \u003c\/b\u003eDe profundis clamavi\u003c\/span\u003e  (19:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 20 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eANTHEIL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4, '1942', W.177\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Moderato - Allegretto  (10:11)\u003cbr\u003e3. 2nd mvt. - Allegro  (8:46)\u003cbr\u003e4. 3rd mvt. - Scherzo: Presto  (4:29)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (8:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 13 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Schoenberg Piano Concerto  (0:25)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHOENBERG \u003c\/b\u003ePiano Concerto, Op. 42\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Andante  (4:37)\u003cbr\u003e8. 2nd mvt. - Molto allegro  (2:36)\u003cbr\u003e9. 3rd mvt. - Adagio  (6:15)\u003cbr\u003e10. 4th mvt. - Giocoso (Moderato)  (6:11)\u003cbr\u003e\u003cb\u003eEduard Steuermann, \u003c\/b\u003epiano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra    \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eAaron Copland\u003c\/b\u003e and \u003cb\u003eLeopold Stokowski\u003c\/b\u003e in 1942\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e2 hr 16:23   \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1. 1st mvt. - Allegro ma non troppo, un poco maestoso  (13:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2. 2nd mvt. - Scherzo. Molto vivace - Presto  (10:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3. 3rd mvt. - Adagio molto e cantabile  (15:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4. 4th mvt. - Presto - Allegro assai  (24:37)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5. RADIO Closing announcements  (2:19)\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cb\u003eAnne Brown. \u003c\/b\u003esoprano  \u003cb\u003e\u003cbr\u003eWinifred Heidt. \u003c\/b\u003econtralto  \u003cb\u003e\u003cbr\u003eWilliam Horne. \u003c\/b\u003etenor  \u003cb\u003e\u003cbr\u003eLawrence Whisonant. \u003c\/b\u003ebass\n\u003cp\u003e\u003cb\u003eThe Westminster Choir\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra   \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCosmopolitan Opera House, New York City\u003cbr\u003eMovements 1-3 not broadcast\u003cbr\u003eLive broadcast recording, 11 November 1941\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  66:04\u003cb\u003e  \u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\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\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e1 RADIO Introduction  (0:19)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHOLST  \u003c\/b\u003eThe Planets\u003c\/span\u003e  Op. 32\u003cbr\u003e2. 1. Mars, the Bringer of War  (6:54)\u003cbr\u003e3. 2. Venus, the Bringer of Peace  (8:50)\u003cbr\u003e4. 3. Mercury, the Winged Messenger  (3:40)\u003cbr\u003e5. 4. Jupiter, the Bringer of Jollity  (7:06)\u003cbr\u003e6. 5. Saturn, the Bringer of Old Age  (9:05)\u003cbr\u003e7. 6. Uranus, the Magician  (5:48)\u003cbr\u003e8. 7. Neptune, the Mystic  (10:40)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e9 \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBUTTERWORTH  \u003c\/b\u003eA Shropshire Lad\u003c\/span\u003e  (9:33)\u003c\/p\u003e\n\u003cp\u003e10. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e  Fantasia on Christmas Carols\u003c\/span\u003e (orchestral version)  (9:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Stokowski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHOLST The Planets\u003c\/b\u003e\u003cbr\u003eBroadcast 14 February 1943\u003cbr\u003e\u003cb\u003eBUTTERWORTH A Shropshire Lad\u003c\/b\u003e\u003cbr\u003eBroadcast 13 February 1944\u003cbr\u003e\u003cb\u003eVAUGHAN WILLIAMS Carols Fantasia\u003c\/b\u003e\u003cbr\u003eBroadcast 14 December 1943\u003cbr\u003e\u003cbr\u003eLive performances broadcast from Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  71:28\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\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. RADIO Introduction to The Engulfed Cathedral  (0:24)\u003cbr\u003e2.\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\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\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\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\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Twentieth Century Symphonies\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHOVHANESS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 1, Op. 17, \"Exile\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Lament  (7:40)\u003cbr\u003e2. 2nd mvt. - Conflict  [original version] (3:29)\u003cbr\u003e3. 3rd mvt. - Triumph  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in C\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato alla breve  (9:08)\u003cbr\u003e5. 2nd mvt. - Larghetto concertante  (7:07)\u003cbr\u003e6. 3rd mvt. - Allegretto  (4:24)\u003cbr\u003e7. 4th mvt. - Largo; Tempo giusto, alla breve  (7:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in E flat major\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Sehr lebhaft  (5:09)\u003cbr\u003e9. 2nd mvt. - Sehr langsam  (9:18)\u003cbr\u003e10. 3rd mvt. - Lebhaft  (6:27)\u003cbr\u003e11. 4th mvt. - Mäßig schnelle Halbe  (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski with Alan Hovhaness in 1958\u003cbr\u003eLive broadcast concerts from NBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:42    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Beethoven \u0026amp; Wagner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDISC ONE\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro con brio  (6:33)\u003cbr\u003e2. 2nd mvt. - Andante con moto  (11:42)\u003cbr\u003e3. 3rd mvt. - Scherzo. Allegro - Trio  (5:36)\u003cbr\u003e4. 4th mvt. - Allegro  (8:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 26 December, 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 6 in F major, Op. 68, 'Pastoral'\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo  (8:53)\u003cbr\u003e6. 2nd mvt. - Scene am Bach. Andante molto moto  (15:49)\u003cbr\u003e7. 3rd mvt. - Lustiges Zusammensein der Landleute. Allegro  (2:44)\u003cbr\u003e8. 4th mvt. - Gewitter. Sturm. Allegro  (3:15)\u003cbr\u003e9. 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto  (10:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 24 March, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDISC TWO\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Poco sostenuto - Vivace  (11:37)\u003cbr\u003e2. 2nd mvt. - Allegretto  (10:13)\u003cbr\u003e3. 3rd mvt. - Presto  (4:53)\u003cbr\u003e4. 4th mvt. - Allegro con brio  (7:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 22 November, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde - Prelude and Liebestod\u003c\/span\u003e  (17:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 22 November, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eParsifal\u003c\/span\u003e\u003cbr\u003e6. Good Friday Spell  (11:31)\u003cbr\u003e7. Act 3: Symphonic Synthesis (Arr. Stokowski)  (16:51)\u003cbr\u003e\u003cb\u003eCollegiate Choir\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 31 March, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 32:37     \u003cbr\u003e\u003cbr\u003eCD1: 73:10      \u003cbr\u003eCD2: 79:27    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Russian Music\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Firebird Suite  (1:06)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Firebird - Suite\u003c\/span\u003e\u003cbr\u003e2. I. Introduction  (3:08)\u003cbr\u003e3. II. The Firebird and its Dance  (1:15)\u003cbr\u003e4. III. The Princesses' Round  (5:33)\u003cbr\u003e5. IV. Infernal Dance of King Kashchei  (3:46)\u003cbr\u003e6. V. Lullaby  (3:58)\u003cbr\u003e7. VI. Finale  (2:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e(arr. Stokowski) Petrushka - Suite \u003c\/span\u003e (15:33)\u003cbr\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. STOKOWSKI Introduction to Tchaikovsky Symphony No. 4  (1:32)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e10. 1st mvt. - Andante sostenuto - Moderato con anima  (15:52)\u003cbr\u003e11. 2nd mvt. - Andantino in modo di Canzona  (10:01)\u003cbr\u003e12. 3rd mvt. - Scherzo. Pizzicato ostinato. Allegro  (5:09)\u003cbr\u003e13. 4th mvt. - Finale. Allegro con fuoco  (9:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 25 November 1941*\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Russian Easter Overture  (0:35)\u003cbr\u003e2. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Russian Easter Festival Overture, Op. 36\u003c\/span\u003e  (12:39)\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Capriccio Espagnol  (0:15)\u003cbr\u003e4. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Capriccio Espagnol, Op. 34\u003c\/span\u003e  (14:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to Tchaikovsky Symphony No. 5  (0:43)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Andante - Allegro con anima  (14:04)\u003cbr\u003e7. 2nd mvt. - Andante cantabile con alcuna licenza  (13:08)\u003cbr\u003e8. 3rd mvt. - Valse. Allegro moderato  (5:56)\u003cbr\u003e9. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 29 November 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York \u003cbr\u003eexcept *Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 32: 06 \u003c\/b\u003e    \u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 79:00      CD2: 73:06   \u003c\/span\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\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 3  (1:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 3 in F, Op. 90\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (9:24)\u003cbr\u003e3. 2nd mvt. - Andante  (10:22)\u003cbr\u003e4. 3rd mvt. - Poco allegretto  (5:59)\u003cbr\u003e5. 4th mvt. - Allegro  (8:40)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 4 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e6. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 4  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Allegro non troppo  (10:50)\u003cbr\u003e8. 2nd mvt. - Andante moderato  (11:18)\u003cbr\u003e9. 3rd mvt. - Allegro giocoso  (5:40)\u003cbr\u003e10. 4th mvt. - Allegro energico e passionato  (9:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 18 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Leopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from the Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  74:58\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts Wagner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSiegfried Idyll  \u003c\/span\u003e(18:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Tristan und Isolde \u003c\/span\u003e\u003cbr\u003e2. Love Music  (22:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eLohengrin\u003c\/span\u003e\u003cbr\u003e3. Prelude  (10:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Die Walküre\u003c\/span\u003e\u003cbr\u003e4. Wotan's Farewell  (13:17)\u003cbr\u003e5. Magic Fire Music  (4:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York \u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  69:07    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003econducts 20th Century American Composers\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLAMAR STRINGFIELD \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e1.\u003cb\u003e A Symphonic Patrol\u003c\/b\u003e  (8:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMORTON GOULD  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSpirituals for String Choir and Orchestra\u003c\/b\u003e\u003cbr\u003e2. I. Proclamation  (4:01)\u003cbr\u003e3. II. Sermon  (3:42)\u003cbr\u003e4. III. A Little Bit of Sin  (2:07)\u003cbr\u003e5. IV. Protest  (2:24)\u003cbr\u003e6. V. Jubilee  (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 15 November 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePAUL CRESTON \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e7. \u003cb\u003eChant for 1942\u003c\/b\u003e  (9:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 26 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWILLIAM SCHUMAN \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e8. \u003cb\u003ePrayer, 1943\u003c\/b\u003e  (13:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROBERT KELLY \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e9. \u003cb\u003eAdirondack Suite - \u003c\/b\u003e\u003ci\u003eSunset Reflections\u003c\/i\u003e  (5:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 18 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIRGIL THOMSON  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Plow That Broke The Plains, Suite\u003c\/b\u003e\u003cbr\u003e10. Prelude  (1:46)\u003cbr\u003e11. Pastorale (Grass)  (1:28)\u003cbr\u003e12. Cattle  (2:43)\u003cbr\u003e13. Blues (Speculation)  (2:36)\u003cbr\u003e14. Drought  (1:05)\u003cbr\u003e15. Devastation  (5:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 16 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCARLTON COOLEY \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e16. \u003cb\u003eEastbourne Sketches\u003c\/b\u003e - \u003ci\u003ePromenade  \u003c\/i\u003e(4:18)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBroadcast of 24 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROY HARRIS \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e17. \u003cb\u003eFolk Rhythms of Today\u003c\/b\u003e  (6:08)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 19 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eNBC Symphony Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Morton Gould and Leopold Stokowski\u003cbr\u003eSpecial thanks to Edward Johnson and Adrien Strugeon\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  79:38  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eBACH-STOKOWSKI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e Symphonic Transcriptions\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e1. \u003cb\u003eToccata and Fugue in D minor\u003c\/b\u003e  \u003cspan style=\"font-size: 12px;\"\u003e(9:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943  \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e2.\u003cb\u003e Prelude in E flat minor\u003c\/b\u003e (from \u003ci\u003eThe Well-Tempered Clavier,\u003c\/i\u003e Book 1)  \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 4 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. \u003cb\u003eArioso \u003c\/b\u003e(Largo from \u003ci\u003eHarpsichord Concerto No. 5\u003c\/i\u003e in F minor)  \u003cspan style=\"font-size: 12px;\"\u003e(8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 25 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e4. \u003cb\u003ePrelude on Ein Feste Burg\u003c\/b\u003e  (6:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cb\u003eWir Glauben all' an Einen Gott\u003c\/b\u003e (Chorale-Prelude '\u003ci\u003eGiant Fugue\u003c\/i\u003e')  \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003cbr\u003e6. \u003cb\u003eAdagio \u003c\/b\u003e(from \u003ci\u003eToccata, Adagio and Fugue in C minor\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(5:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e7. \u003cb\u003eEs ist Vollbracht\u003c\/b\u003e (from the \u003ci\u003eSt. John Passion\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003eChrist lag in Todesbanden\u003c\/b\u003e (\u003ci\u003eChorale-Prelude\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003ePassacaglia and Fugue in C minor\u003c\/b\u003e  \u003cspan style=\"font-size: 12px;\"\u003e(13:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 27 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eBonus track:\u003cbr\u003e10. \u003cb\u003eSt. Matthew Passion\u003c\/b\u003e - Final Chorus  \u003cspan style=\"font-size: 12px;\"\u003e(8:52)\u003c\/span\u003e\u003cbr\u003e\"\u003ci\u003eHere yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O Saviour blest\u003c\/i\u003e\"\u003cbr\u003e\u003cb\u003eCollegiate Chorale\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eXR Remastered by \u003cb\u003eAndrew Rose\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003cbr\u003e\u003c\/b\u003eSpecial thanks to \u003cb\u003eEdward Johnson\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  77:11 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC629.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC629.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":39288619335741,"sku":null,"price":256.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205527552334,"sku":null,"price":176.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205527585102,"sku":null,"price":144.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC629.jpg?v=1769529897"},{"product_id":"pabx035-cd","title":"STOKOWSKI The Pristine NBC Symphony Series (1941-1944) - 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STRAUSS II\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Four Waltzes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSUPPÉ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePoet And Peasant Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTHOMAS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMignon Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eElgar, Sibelius, Handel, Mendelssohn\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e et al\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1916-1926\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:36\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChicago Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrederick Stock\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC657.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release is the first in a series devoted to longtime Chicago Symphony\n    Orchestra music director Frederick Stock, and celebrates the 150th\n    anniversary of his birth. All of Stock’s symphonic recordings will be\n    featured in upcoming volumes (his four concerto recordings have already\n    been well-covered on CD reissues), presented in the order in which they\n    were recorded. Many items have not been available since the 78 rpm era. In\n    this volume, all of the acoustics except for the Mendelssohn are being\n    reissued for the first time, as are the electrics of the Dvořák and Thomas\n    overtures and two Strauss waltzes.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock was born in Jülich, Germany, on 11 November 1872. His father, an army\n    bandmaster, provided his early musical training. He entered Cologne\n    Conservatory at the age of fourteen studying violin and composition; among\n    his teachers was Humperdinck, and Willem Mengelberg was a classmate. Upon\n    his graduation in 1890, he joined the Municipal Orchestra of Cologne as a\n    violinist. Five years later, he auditioned for the visiting Theodore\n    Thomas, who was recruiting players for his four-year-old Chicago Orchestra.\n    Thomas hired him initially as a violist, but within four years he\n    recognized Stock’s conducting talent and made him his assistant.\n\u003c\/p\u003e\n\u003cp\u003e\n    When Thomas died suddenly in January, 1905, Stock served as interim music\n    director while the orchestra board attempted to secure the services of such\n    well-known European conductors as Weingartner, Richter and Mottl. When the\n    board’s efforts failed, Stock was appointed for a trial year. He was to\n    remain music director until his death thirty-seven years later (20 October\n    1942), a record surpassed among major American orchestras only by Ormandy’s\n    tenure with the Philadelphia, and by few other conductor\/orchestra\n    combinations throughout the world (Mengelberg\/Concertgebouw,\n    Mravinsky\/Leningrad).\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock’s recording career divides neatly into three periods. His Columbia\n    acoustics of 1916-17 (the first recordings made by a credited American\n    orchestra under its own music director) were succeeded, after an eight-year\n    hiatus, by a series of electrical recordings for Victor (1925-30) which\n    included Bach’s B Minor Suite, a Mozart 40th, Schumann’s “Spring” Symphony\n    and Tchaikovsky’s Fifth. After another nine-year absence from the\n    microphone, Stock and the Chicago Symphony rejoined Columbia for two\n    seasons (1939-40 and 1940-41) for an extensive string of recordings\n    including a Mozart “Prague”, the Schubert 9th, the Schumann Fourth, Brahms’\n    Third and \u003cem\u003eTragic\u003c\/em\u003e Overture, Tchaikovsky’s \u003cem\u003eNutcracker\u003c\/em\u003e\n    Suite, Strauss’ \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e and numerous short\n    “popular” works, as well as concerto recordings with Milstein and\n    Piatigorsky. Returning to Victor for what turned out to be his final full\n    season with the orchestra (1941-42), he made two much-admired Beethoven\nconcerto recordings with Schnabel, as well as Dvořák’s    \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e and the Chausson Symphony.\n\u003c\/p\u003e\n\u003cp\u003e\n    The acoustics and early electrics presented in this volume benefit from the\n    lack of re-scoring typical of other recordings of the era, in which tubas\n    reinforced the bass line and other instruments that “projected” better were\n    substituted for the original choices. Only the \u003cem\u003eParsifal\u003c\/em\u003e excerpt\n    seems to be notably lacking in tympani support, which is nonetheless heard\n    elsewhere among the acoustics. The sound on these reveals a reduced\n    ensemble in small venues; yet the well-disciplined playing of the orchestra\n    is apparent even in the earliest recordings. By the time of their first\n    sessions with the full ensemble in the rather over-reverberantly recorded\n    Orchestra Hall, the Chicago Symphony’s stature among the world’s great\n    ensembles has been firmly established, as has their conductor’s\n    rhythmically flexible and vital interpretive approach.\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the transfers were American Columbia “Tri-Color” label\n    pressings for the acoustics, and mainly “Z” and “Gold” label Victor\n    pressings for the electrics except for the Brahms, which came from a vinyl\n    test pressing. The second side of the Thomas overture and the Handel and\n    Elgar recordings were dubbed very early on in order to prevent blasting on\n    the heavy pickups of the day. These are presented here from undubbed first\n    edition “Orthophonic” pressings, which, though somewhat heavier in surface\n    noise, better preserve the immediacy and dynamic range of the original\n    recordings.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 Columbia Acoustics, 1916 - 1917 (74:53)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \n    \n        \u003cstrong\u003e\n            MENDELSSOHN Wedding March from \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e\n\u003c\/strong\u003e\n\u003cstrong\u003e, Op. 61 \u003c\/strong\u003e\n    (4:28)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48763-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\u003cp\u003e\n    2. \u003cstrong\u003eWAGNER Ride of the Valkyries from \u003cem\u003eDie Walküre\u003c\/em\u003e \u003c\/strong\u003e\n    (4:36)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48764-2 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\u003cp\u003e\n3.    \u003cstrong\u003eGRIEG The Last Spring from Two Elegiac Melodies, Op. 34 \u003c\/strong\u003e\n    (4:39)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48766-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\u003cp\u003e\n    4.\n    \n\u003cstrong\u003eSAINT-SAËNS Bacchanale from \u003cem\u003eSamson et Dalila\u003c\/em\u003e\u003c\/strong\u003e\n\n\u003cstrong\u003e, Op. 47 \u003c\/strong\u003e\n    (4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48770-1 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\u003cp\u003e\n    5.\n    \n        \u003cstrong\u003eTCHAIKOVSKY Waltz from \u003cem\u003eSleeping Beauty\u003c\/em\u003e \u003c\/strong\u003e\n    \n    (4:16)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48772-1 ∙ First issued on Columbia A5860\n\n\u003c\/p\u003e\u003cp\u003e\n    6. \u003cstrong\u003eJÄRNFELT Praeludium \u003c\/strong\u003e(2:31)\u003cbr\u003e7. \u003cstrong\u003eFRANÇOIS\u003c\/strong\u003e\u003cstrong\u003e SCHUBERT \u003c\/strong\u003e\u003cstrong\u003eThe Bee from Bagatelles, Op. 13, No. 9 \u003c\/strong\u003e(1:48) \u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48776-3 ∙ First issued on Columbia A6014\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eBIZET \u003cem\u003eCarmen\u003c\/em\u003e – Prelude to Act 4 (Aragonaise) \u003c\/strong\u003e\n    (2:08)\u003cbr\u003e9. \u003cstrong\u003eBIZET \u003cem\u003eL’Arlésienne\u003c\/em\u003e – Farandole \u003c\/strong\u003e(1:19) \u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48794-2 ∙ First issued on Columbia A5860\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    10.\n    \n        \u003cstrong\u003e\n            WAGNER Parsifal – Processional of the Knights of the Holy Grail\n        \u003c\/strong\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n    (4:25)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48796-1 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n11. \u003cstrong\u003eWAGNER Lohengrin – Prelude to Act 1 \u003c\/strong\u003e(4:23)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48803-2 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n12. \u003cstrong\u003eSUPPÉ Poet and Peasant – Overture \u003c\/strong\u003e(7:30)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 \u0026amp; 15 May 1917 ∙ Matrices: 49193-2 \u0026amp; 49194-2 ∙ First\n    issued on Columbia A5991\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    13.\n    \n        \u003cstrong\u003e\n            J. STRAUSS II Thousand and One Nights – Waltz, Op. 346\n        \u003c\/strong\u003e\n    \n    (4:22)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 May 1917 ∙ Matrix: 49195-2 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    14.\n   \n        \u003cstrong\u003e\n            WOLF-FERRARI \u003cem\u003eJewels of the Madonna\u003c\/em\u003e - Intermezzo\n        \u003c\/strong\u003e\n   \n    (3:10)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 15 May 1917 ∙ Matrix: 49201-2 ∙ First issued on Columbia A6014\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    15. \u003cstrong\u003eSIMONETTI (orch. Stock) Madrigale \u003c\/strong\u003e(2:16)\u003cbr\u003e16. \u003cstrong\u003eSCHUBERT (orch. Stock) Moment musical, D.780, No. 3 \u003c\/strong\u003e\n    (1:48)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49203-2 ∙ First issued on Columbia A6026\n\u003c\/p\u003e\n\u003cp\u003e\n    17.\n   \n        \u003cstrong\u003eGLAZUNOV \u003cem\u003eLes Ruses d’Amour\u003c\/em\u003e, Op. 61 - Waltz \u003c\/strong\u003e\n  \n    (4:29)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49204-1 ∙ First issued on Columbia A6026\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    18.\n    \n        \u003cstrong\u003eJ. STRAUSS II Voices of Spring – Waltz, Op. 410 \u003c\/strong\u003e\n    \n    (4:20)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49207-1 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\u003cp\u003e\n    19.\n  \n        \u003cstrong\u003eSMITH (orch. Stock) The Star-Spangled Banner \u003c\/strong\u003e\n   \n    (2:39)\u003cbr\u003e20. \u003cstrong\u003eCAREY (orch. Stock) America \u003c\/strong\u003e(1:23)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49205-1 ∙ First issued on Columbia A5977\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n21.    \u003cstrong\u003eMEACHAM American Patrol – March \u003c\/strong\u003e\n    (3:57)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49206-2 ∙ First issued on Columbia A5977\n\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 Victor Electrics – 1925 - 1926 (75:43)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eDVOŘÁK Carnival – Overture, Op. 92 \u003c\/strong\u003e(8:51)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 19 December 1925 ∙ Matrices: CVE 34049-2 \u0026amp; 34050-2 ∙ First\n    issued on Victor 6560\n\n\u003c\/p\u003e\u003cp\u003e\n2. \u003cstrong\u003eGOLDMARK In Springtime\u003c\/strong\u003e \u003cstrong\u003e – Overture, Op. 36 \u003c\/strong\u003e(8:30)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1925 ∙ Matrices: CVE 34054-4 \u0026amp; 34055-5 ∙ First\n    issued on Victor 6576\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\nMAC DOWELL (orch. Stock)        Woodland Sketches, Op. 51\u003c\/strong\u003e\u003cbr\u003e3. No. 6: To a Water Lily (2:56)\u003cbr\u003e4. No. 1: To a Wild Rose (2:21)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrices: BVE 34065-5 \u0026amp; 34066-4 ∙ First\n    issued on Victor 1152\n\n\u003c\/p\u003e\u003cp\u003e\n    5. \u003cstrong\u003eSIBELIUS Valse triste from \u003cem\u003eKuolema\u003c\/em\u003e, Op. 44 \u003c\/strong\u003e\n    (4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34067-3 ∙ First issued on Victor\n    6579\n\n\u003c\/p\u003e\u003cp\u003e\n    6.\n    \n        \u003cstrong\u003e\n            VOLKMANN Waltz from Serenade for String Orchestra, Op. 63\n        \u003c\/strong\u003e\n    \n    (3:07)\u003cbr\u003e7.\n   \n        \u003cstrong\u003e\n            RIMSKY-KORSAKOV Flight of the Bumble-Bee from \u003cem\u003eTsar Sultan\u003c\/em\u003e\n\u003c\/strong\u003e\n  \n    (1:27)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34068-3 ∙ First issued on Victor\n    6579\n\u003c\/p\u003e\n\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n        WAGNER \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e – Prelude to Act 1\n    \u003c\/strong\u003e\n    (9:09)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrices: CVE 37270-7 \u0026amp; 37271-6 ∙ First\n    issued on Victor 6651\n\n\u003c\/p\u003e\u003cp\u003e\n    9.\n   \n        \u003cstrong\u003eJ. STRAUSS II – Wine, Women and Song – Waltz, Op. 333 \u003c\/strong\u003e\n    \n    (4:41)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrix: CVE 37272-4 ∙ First issued on Victor\n    6647\n\n\u003c\/p\u003e\u003cp\u003e\n    10.\n    \n        \u003cstrong\u003eJ. STRAUSS II – Roses from the South – Waltz, Op. 388 \u003c\/strong\u003e\n   \n    (4:44)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrix: CVE 37274-2 ∙ First issued on Victor\n    6647\n\n\u003c\/p\u003e\u003cp\u003e\n11. \u003cstrong\u003eTHOMAS \u003cem\u003eMignon\u003c\/em\u003e – Overture \u003c\/strong\u003e(7:59)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrices: CVE 37275-2 \u0026amp; 37276-3 ∙ First\n    issued on Victor 6650\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eBRAHMS (orch. Dvořák) Hungarian Dances\u003c\/strong\u003e\u003cbr\u003e12. No. 17 in F sharp minor (1:57)\u003cbr\u003e13. No. 18 in D major (1:07)\u003cbr\u003e14. No. 19 in B minor (1:44)\u003cbr\u003e15. No. 20 in E minor (2:17)\u003cbr\u003e16. No. 21 in E minor (1:20)\u003cbr\u003eRecorded 21 \u0026amp; 22 December 1926 ∙ Matrices: CVE 37277 \u0026amp; 37283 ∙\n    Unissued on 78 rpm\n\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eHANDEL – Largo from \u003cem\u003eSerse\u003c\/em\u003e (“Ombra mai fu”) \u003c\/strong\u003e\n    (4:40)\u003cbr\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003cbr\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37281-5 ∙ First issued on Victor\n    6648\n\u003c\/p\u003e\n\u003cp\u003e\n18. \u003cstrong\u003eELGAR Pomp and Circumstance \u003c\/strong\u003e \u003cstrong\u003eMarch No. 1, Op. 39 \u003c\/strong\u003e(4:31)\u003cbr\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37282-3 ∙ First issued on Victor\n    6648\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrederick Stock ∙ Chicago Symphony Orchestra\u003c\/span\u003e\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    Special thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eRecording locations: Columbia Studios, New York City (1916-17); Webster\n    Hotel Ballroom, Chicago (1925); and Orchestra Hall, Chicago (1926)\n\n\u003c\/p\u003e\u003cp\u003eTotal duration: 2hr 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(+MP3)","offer_id":40096489799741,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205523030350,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC657.jpg?v=1759331577"},{"product_id":"pabx040","title":"SEVITZKY and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53) - PABX040","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY, GLINKA, RIMSKY-KORSAKOV, LIADOV\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLAZUNOV \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrom the Middle Ages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUBENSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eStephen Foster – Theme, Variations and Finale \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUBENSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFugue for 18\n        Violins\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCESANA \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eNegro Heaven\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGERSHWIN-BENNETT\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Porgy and Bess: A Symphonic Picture\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHATCHATURIAN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGayaneh – Ballet Suite \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eENESCU \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e2 Romanian Rhapsodies\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e4 Slavonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e3 Hungarian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1, 'Winter Dreams'\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKALINNIKOV \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’Isola Disabitata – Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 73, “La Chasse”\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSigurd Jorsalfar – Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePeer Gynt – Suite No. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoppélia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSylvia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMasquerade - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKreisler, Sgambati, Weber, J. Strauss II\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941-53\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIndianapolis Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.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\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\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\u003eFabien Sevitzky conducts the Indianapolis Symphony\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29 \nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge \nKoussevitzky’s, his original last name was the same, but later shortened\n at his uncle’s request to avoid confusion.  Like him, Sevitzky took up \nthe double bass in order to win a conservatory scholarship.  After \nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s \nPhiladelphia Orchestra in 1923.  Two years later, he organized members \nof the ensemble’s string section into the Philadelphia Chamber String \nSimfonietta.  (Their complete recordings have been reissued on Pristine \nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he \ncontinued to conduct the chamber ensemble until 1941.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky was appointed conductor of the Indianapolis Symphony \nOrchestra in 1937, a post he held until 1955.  He retired to Florida, \nwhere he became a faculty member at the University of Miami, leading the\n school’s orchestra and continuing to guest conduct internationally.  It\n was during one such appearance in Athens that Sevitzky died on 3 \nFebruary 1967.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony \nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\n were made for Capitol LPs in 1953.  The present program is the first in\n a series which aims to reissue them all, some for the first time since \ntheir initial release.  None of them have ever received an “official” CD\n reissue.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\n Overture comes on like gangbusters, showing off the exuberance and \nvirtuosity of the ensemble and conductor in sound that was \nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\n revolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\n is worth noting that Sevitzky studied under both Rimsky and Liadov at \nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\n he paints a vivid tonal characterization of the same mythical witch who\n inspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e \nSymphony was the first complete version made of the work (Albert Coates \nhad previously recorded the second movement alone), and would remain the\n only one until Toscanini’s 1949 recording, with a cut of some 100 bars \nin the finale, appeared on LP.  It is dramatically paced, with much \nexcitement in the faster sections.  However, some parts are played much \nmore slowly than we are used to.  The third movement’s “Andante con \nmoto” is here more of an “Adagio molto”; and the second movement’s trio \nis not “l’istesso tempo” as marked by Tchaikovsky, but something \nconsiderably slower.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven more curious is Sevitzky’s substitution of a snare drum \n(side drum) for the tambourine in the bacchanal which opens the fourth \nmovement.  The conductor could have interpreted the “tamb.” marked in \nthe score as referring to a “tamburo piccolo” or snare drum.  However, \nthe first page of the score spells out “tambourine”, so there should \nhave been no confusion.  Its presence here remains a mysterious \nprecedent that no other known conductor has followed.  (I am indebted to\n writer Edward Johnson for pointing this out.)\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sources for the transfers were American Victor 78 rpm \nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\n items; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    This second volume of Pristine’s survey of Fabien Sevitzky’s complete\n    Indianapolis Symphony recordings couples a late Romantic Russian work with\n    the works of several American composers of (mainly) Russian extraction.\n    Sevitzky studied under Glazunov at the St. Petersburg Conservatory, and his\n    set of the suite \u003cem\u003eFrom the Middle Ages\u003c\/em\u003e was the first and only\n    complete recording of the work during the 78 rpm era. Oddly, when RCA\n    reissued the album on LP on their Bluebird label in the 1950s, the Scherzo\n    was omitted, even though the entire work could have easily fit on one side.\n    It receives its first reissue here.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sevitzky’s commitment to the music of his adopted land was second to none\n    among prominent conductors in the USA at the time, and he tried to include\n    a composition by an American composer in each of his concerts. His Victor\n    discography lists works by Roy Harris, Harl McDonald, Leo Sowerby, David\n    Van Vactor and Robert L. Sanders which remain unreleased. All of his issued\n    recordings of works by American composers are included in the present\n    program.\n\u003c\/p\u003e\n\u003cp\u003e\n    Arcady Dubensky (1890 – 1966) was a Russian-born American composer,\n    arranger and violinist, who played in the New York Symphony and New York\n    Philharmonic from 1922 to 1953. During that time, he was a prolific\n    composer whose works were recorded by Leopold Stokowski as well as\n    Sevitzky. His \u003cem\u003eFugue for 18 Violins\u003c\/em\u003e was played in Philadelphia\n    during Sevitzky’s tenure as leader of that city’s Chamber String\n    Simfonietta, and his \u003cem\u003eStephen Foster\u003c\/em\u003e was premièred by Sevitzky in\n    1941. The theme is taken from “Old Folks at Home (Swanee River)”, which in\n    the finale is joined by “Oh, Susanna” and “Beautiful Dreamer”. Like\n    Dohnanyi’s \u003cem\u003eVariations on a Nursery Tune\u003c\/em\u003e, some of the variations\n    are done in the style of other composers (Richard Strauss, Tchaikovsky, et\n    al.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Otto Cesana (1899 – 1980) was a composer, conductor, jazz musician and\n    arranger who emigrated from Italy to the United States as a child, and was\n    later to lead a series of “easy listening” LPs in the 1950s. The\n    unfortunate title of his tone poem has guaranteed that it will never be\n    revived, which is a pity, given that the work itself is tuneful and\n    exuberant. Cesana wrote that his intent in the work was to illustrate the\n    changing moods of the African-American man, “now gay, now sad, always\n    however migrating toward carefreeness and abandon.”\n\u003c\/p\u003e\n\u003cp\u003e\nGeorge Gershwin had arranged his own suite from his opera,    \u003cem\u003ePorgy and Bess\u003c\/em\u003e, but it was little-performed when conductor Fritz\n    Reiner commissioned American arranger Robert Russell Bennett to produce the\n    “symphonic picture” heard here. Reiner chose the excerpts, suggested their\n    order and even some of the key transpositions. Although Alfred Wallenstein\n    recorded a cut version in 1944, Sevitzky became the first conductor to\n    record it complete, beating Reiner’s Pittsburgh set by seven weeks.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like Sevitzky’s substitution of the snare drum for the tambourine in the\n    last movement of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc479\" target=\"_blank\"\u003ePASC    479\u003c\/a\u003e), there is another odd-sounding replacement here, as a bassoon “sings”\n    Porgy’s part in “I got plenty o’ nuttin”, rather than the customary banjo.\n    (Where was the banjoist from the Dubensky \u003cem\u003eStephen Foster\u003c\/em\u003e finale?)\n    Nonetheless, Sevitzky gives a highly idiomatic performance, as he did with\n    the other American music presented here.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release brings together several works inspired by folk dances\n    of various European and Asian peoples, in some of the earliest and latest\n    recordings made by the Indianapolis Symphony under Fabien Sevitzky. The\n    Brahms disc has not been reissued since its original 78 rpm release, while\n    the remaining recordings, first released on LP, have not been available for\n    over half a century.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Brahms Hungarian Dances date from 1942, a year after Sevitzky began\n    recording in Indianapolis for the Victor label. No orchestrator credits\n    were given on the original disc, but comparisons reveal them to be Brahms’\n    own transcriptions for Nos. 1 and 3 and Martin Schmeling’s transposed\n    arrangement for No. 7, with some emendations, most likely by the conductor\n    himself (\u003cem\u003ee.g.\u003c\/em\u003e the solo celesta ending for No. 3). The performances\n    have a tremendous verve and swagger which seems to leap off the grooves.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sevitzky made his final recordings for Victor in 1946, although some were\n    not first released until 1949. In 1953, the fledgling Capitol label signed\n    Sevitzky and the orchestra to record the Dvořák, Enescu and Khatchaturian\n    works on our program, along with the latter’s \u003cem\u003eMasquerade\u003c\/em\u003e Suite\n    (which will be included on a future volume in this series). Capitol’s\n    engineering philosophy was markedly different from that which Sevitzky had\n    been given by Victor, with the new label favoring a brilliant sound\n    emphasizing the wider frequency range now allowed by tape-based recording,\n    but with less depth to the bass and what sounds like the addition of\n    artificial reverberation.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Dvořák dances are in the same fiery vein as the Brahms from a decade\n    earlier; while in the First Romanian Rhapsody, Sevitzky holds back the\n    faster tempos until later than some other conductors in order to maximize\n    their impact toward the end. For the Khatchaturian, whose score includes\n    Armenian folk melodies and Kurdish, Georgian and Ukrainian dances, Sevitzky\n    rearranged the order of the eight movements of the first ballet suite,\n    which at the time had placed the ubiquitous “Sabre Dance” at the beginning.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Capitol recordings were to be the last Sevitzky made, as he left the\n    orchestra in 1955. He continued to teach and guest conduct until his death\n    in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    With this fourth volume in our series of the complete recordings of Fabien\n    Sevitzky and the Indianapolis Symphony Orchestra, we return to the Romantic\n    Russian repertoire for which he was particularly esteemed. Our focus here\n    is on two First Symphonies, both in G minor, separated in composition by\n    nearly three decades. For one composer, it was the start of a brilliant\n    career as a symphonist; while for the other, it was a success not to be\n    duplicated during the remainder of his short life.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovsky began work on his first symphony in March of 1866, shortly\n    before his twenty-sixth birthday. It quickly became a trial for him due to\n    his desire to earn the approval of two of his teachers, Anton Rubinstein\n    and Nikolai Zaremba, musical conservatives whose ideals were centered on\n    Classical and early Romantic-era German models. They insisted on changes\n    before they would agree to a performance. The composer obliged, and the two\n    middle movements were presented in St. Petersburg in February of the\n    following year to little acclaim.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovsky then went back, for the most part, to his original version,\n    which his friend Nikolai Rubinstein (Anton’s brother) was eager to perform.\n    The Scherzo alone was played at a Moscow concert in December of 1867, again\n    without much success. It was not until a complete performance the following\n    February that audiences finally warmed to the work. Tchaikovsky would go on\n    to revise the score in 1874, and would ultimately look back on this early\n    composition with great pride. (In this recording, Sevitzky performs the\n    last two movements without a pause.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Vasily Kalinnikov was born in 1866, the same year that Tchaikovsky’s First\n    Symphony was written. He had worked as a choral conductor and an\n    instrumentalist in theater orchestras when Tchaikovsky himself recommended\n    him for two opera house conducting posts in 1892. Kalinnikov’s worsening\n    tuberculosis caused him to resign after a short while in order to move to\n    the more hospitable climate of Yalta on the Baltic Sea. He spent the rest\n    of his life there composing before his death in 1901, shortly before his\n    thirty-fifth birthday. His First Symphony, which dates from this period,\n    was premièred in Kiev in 1897 and quickly traveled to the musical capitals\n    of the world. It remains the work by which he is best known.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like his recording of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (reissued on\n    Volume 1 of this series, \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-fabien-sevitzky\/products\/pasc479\" target=\"_blank\"\u003ePristine PASC 479\u003c\/a\u003e), the present works were\n    phonographic premières, and Sevitzky presents both colorful scores with\n    great enthusiasm and obvious affection. The sources for the transfers were\n    first edition American Victor pressings – postwar discs for the\n    Tchaikovsky, and wartime “silver” label copies for the Kalinnikov.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    For this fifth and penultimate volume in our series of Fabien Sevitzky’s\n    complete recordings with the Indianapolis Symphony, we present all the\n    repertoire by Haydn and Grieg the conductor set down on disc with this\n    ensemble.\n\u003c\/p\u003e\n\u003cp\u003e\n    Haydn’s opera, \u003cem\u003eL’isola disabitata\u003c\/em\u003e (The Uninhabited Island) was\n    long known only by its overture, as the complete opera did not see print\n    until 1976. Sevitzky’s performance emphasizes the extremes of uneasy repose\n    and violent agitation in the music, in an intense performance that calls to\n    mind the final movement of “Winter” in Vivaldi’s \u003cem\u003eFour Seasons\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    Haydn had previously used the final movement of his Symphony No. 73 as the\n    overture to his opera, \u003cem\u003eLa fedeltà premiata\u003c\/em\u003e (Fidelity Rewarded).\n    This in turn utilized a hunting theme that had figured in earlier works by\n    other composers, and thus the symphony gained the appellation “La chasse”\n    (the hunt). Sevitzky brings an energy and momentum to his reading that\n    belies the big orchestra approach of the time.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like the better-known \u003cem\u003ePeer Gynt\u003c\/em\u003e, Grieg’s \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e\n    was written as incidental music to accompany a play, this one by Bjørnson\n    concerning King Sigurd I of Norway. Of the nine numbers he wrote, Grieg\n    chose three to organize into a concert suite. Sevitzky’s recording on a\n    single disc pairs only the first two excerpts, with the last (the “Homage\n    March”) left unrecorded.\n\u003c\/p\u003e\n\u003cp\u003e\nThe second suite of music Grieg had written to accompany Ibsen’s    \u003cem\u003ePeer Gynt\u003c\/em\u003e is the lesser-performed of the two the composer\n    arranged, even though it contains the lovely and popular “Solvejg’s Song”.\n    When this was recorded in the 1940s, the Victor label sometimes divided\n    works which would seem to go together naturally between two orchestras and\n    conductors. For example, Ormandy and the Philadelphia got to record\n    Enescu’s Romanian Rhapsody No. 1 while Hans Kindler and the National\n    Symphony did the honors for No. 2. Similarly, Eugene Goossens and the\n    Cincinnati Symphony set down on disc the first \u003cem\u003ePeer Gynt\u003c\/em\u003e suite,\n    with Sevitzky allotted the second. Sevitzky makes the most of the varied\n    moods of the four movements, aided by what was superb engineering for its\n    day, with the “Arabian Dance” a particular standout.\n\u003c\/p\u003e\n\u003cp\u003e\n    Recording activities largely halted during the Petrillo Ban (a musician’s\n    union action) from 1942 through 1944. When sessions resumed, Victor began\n    recording with a noticeable amount of compression, giving the sense (to\n    paraphrase critic Rob Cowan’s description) of a sound so massive the\n    grooves could scarcely contain it. While this approach gives a great deal\n    of presence to Grieg’s four \u003cem\u003eSymphonic Dances\u003c\/em\u003e, it also makes the\n    sound a bit unrealistic, as well as relentlessly aggressive. Still,\n    Sevitzky’s winning way with colorful, dance-based compositions carries the\n    day in these works inspired by Ludvig Mathias Lindeman’s collections of\n    Norwegian folk tunes.\n\u003c\/p\u003e\n\u003cp\u003e\nThe sources for these transfers were wartime 78 rpm shellac discs for\u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e and \u003cem\u003ePeer Gynt\u003c\/em\u003e; postwar shellacs for    \u003cem\u003eL’isola disabitata\u003c\/em\u003e and the \u003cem\u003eSymphonic Dances\u003c\/em\u003e; and 45 rpm\n    vinyls dubbed from Victor lacquer backup masters for the Haydn 73rd. None\n    of the works have ever seen an “official” CD reissue, and the Haydn\n    overture and \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e excerpts have not even previously\n    appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    For this final volume in our series of Fabien Sevitzky’s complete\n    recordings with the Indianapolis Symphony, we present a program largely\n    devoted to dance music (three ballet suites, a minuet and two waltzes).\n    None of the works have ever received an “official” CD release, and the\n    Kreisler, Sgambati, Weber and Strauss pieces never even appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n    Our program begins with two works featuring Romantic era composers dabbling\n    in the forms of earlier times. Fritz Kreisler wrote a number of pieces for\n    violin in Baroque and early Classical styles, ascribing them to then\n    little-known composers such as Gaetano Pugnani. When his hoax was revealed\n    in 1935, some critics who had been taken in were apoplectic. Nonetheless,\nsome of the pieces have stayed in the repertoire, including his 1905    \u003cem\u003ePraeludium and Allegro\u003c\/em\u003e, which Sevitzky transcribed for full\n    orchestra in much the same “big band” manner that his conducting\n    contemporaries like Stokowski, Henry Wood and Barbirolli were then using to\n    orchestrate Bach, Handel and Purcell.\n\u003c\/p\u003e\n\u003cp\u003e\n    Giovanni Sgambati wrote his \u003cem\u003eVecchio Minuetto\u003c\/em\u003e in 1885 for solo\n    piano, looking back to the 18th Century dance that Haydn and Mozart\n    incorporated into many of their orchestral works. Appropriately, Sevitzky’s\n    performance was originally issued as the filler side to his recording of\n    Haydn’s Symphony No. 73 (reissued on Pristine \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc650\" target=\"_blank\"\u003ePASC 650\u003c\/a\u003e\u003c\/i\u003e). Both this and the\n    next work, a Weber waltz, were orchestrated by Russian-American composer\n    Arcady Dubensky, who in the latter case took Weber’s original piano solo in\n    B-flat and transcribed it in D. Sevitzky recorded several of Dubensky’s\n    compositions, both with the Indianapolis Symphony (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc509\" target=\"_blank\"\u003ePASC 509\u003c\/a\u003e\u003c\/i\u003e) and earlier\n    with his Philadelphia Chamber String Simfonietta (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc375\" target=\"_blank\"\u003ePASC 375\u003c\/a\u003e\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Could it be a coincidence that the only Johann Strauss waltz that Sevitzky\n    ever recorded, \u003cem\u003eFr\u003c\/em\u003e\u003cem\u003eü\u003c\/em\u003e\u003cem\u003ehlingsstimmen\u003c\/em\u003e, was also one of\n    only two that his more famous uncle Serge Koussevitzky had set down 13\n    years earlier for the same label? In the event, Sevitzky proves himself to\n    be an entirely idiomatic interpreter, even though he had to drop a repeated\n    phrase and speed up a bit toward the end to get his reading to fit onto one\n    78 rpm side. It is a performance to make one wish he had recorded more of\n    this repertoire.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two Delibes ballet suites were recorded at Sevitzky’s last session for\n    Victor in 1946, although they were kept “in the can” for three years before\n    being issued. In transferring these from their original LP issue (LM-1032,\nreleased in 1950), I was surprised to find that the “Czardas” from\u003cem\u003e Copp\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003elia\u003c\/em\u003e had been moved to the beginning of the    \u003cem\u003eSylvia\u003c\/em\u003e Suite. Evidently, no one noticed the mistake, and it was\n    never corrected during the disc’s relatively brief life in the catalog\n    before it was replaced by a Monteux\/Boston LP featuring the same suites in\n    a somewhat different selection and ordering of excerpts. (Its position has\n    been corrected here.)\n\u003c\/p\u003e\n\u003cp\u003e\n    The Khachaturian was one of only two LPs Sevitzky taped for Capitol at his\n    final recording sessions in 1953. Two years later, he left the Indianapolis\n    Symphony to teach at the University of Miami and guest conduct\n    internationally. During one such appearance, he died in Athens in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n    According to the Sevitzky\/Indianapolis discography compiled by Frederick P.\n    Fellers, of the 43 titles which Sevitzky recorded with the Indianapolis\n    Symphony, no fewer than 12 were never issued. Most of these works were by\n    American composers, whom Sevitzky particularly championed by including one\n    on every program he conducted; but there were others by Bach, Berlioz,\n    Mozart and Verdi which were bypassed for release, as well. It is hoped that\n    someday, these will join the works on the six CDs of the present series,\n    and expand the known performances of this dynamic conductor.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\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\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eGLINKA:  \u003cem\u003eRusslan and Ludmilla\u003c\/em\u003e – Overture \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 8 January 1941 \u003cbr\u003eMatrix No. CS 057573-2 \u003cbr\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eRIMSKY-KORSAKOV:  \u003cem\u003eDubinushka\u003c\/em\u003e, Op. 69\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 7 January 1941\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix No. CS 057574-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eLIADOV: \u003cem\u003eBaba Yaga\u003c\/em\u003e, Op. 56\u003c\/b\u003e \u003cbr\u003e Recorded 9 February 1945 \u003cbr\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003c\/b\u003e                                                    Recorded 19 March 1946\u003cbr\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  \u003cem\u003eManfred\u003c\/em\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded 27-28 January 1942\u003cbr\u003eMatrix Nos. CS 071331-1, \n071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1, \n071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eIndianapolis Symphony Orchestra  ∙  Fabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGLAZUNOV: From the Middle Ages – Suite, Op. 79\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Prelude (7:18)\u003cbr\u003e2. Scherzo (4:02)\u003cbr\u003e3. Serenade of the Troubadour (4:18)\u003cbr\u003e4. The Crusaders (9:12)\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 and 9 February 1945\u003cbr\u003eMatrix nos.: D5-RC-800-2, 801-1, 802-1, 803-2A , 804-2 , 805-2\u003cbr\u003eFirst issued on RCA Victor 12-0328\/30 in album M-1222\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e5. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Fugue for 18 Violins\u003c\/span\u003e\u003c\/strong\u003e(4:25)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 29 January 1942\u003cbr\u003eMatrix no.: CS 071362-1\u003cbr\u003eFirst issued on Victor 11-8366 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e6. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Stephen Foster – Theme, Variations and Finale\u003c\/span\u003e\u003c\/strong\u003e\n    (12:16)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eLeon Zawisza, \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003eRecorded 28 and 29 January 1942\n\n\u003cp\u003e\n    Matrix nos.: CS 071351-2, 071352-1 and 071353-1\u003cbr\u003eFirst issued on Victor 11-8365\/6 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e7. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eCESANA: Negro Heaven\u003c\/span\u003e\u003c\/strong\u003e (7:52)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 January 1941\u003cbr\u003eMatrix nos.: CS 05786-1A and 05787-1A\u003cbr\u003eFirst issued on Victor 18070\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e8. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGERSHWIN-BENNETT: Porgy and Bess: A Symphonic Picture\u003c\/span\u003e\u003c\/strong\u003e\n    (19:46)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 8 February 1945\u003cbr\u003eMatrix nos.: D5-RC-811-1A, 812-1A, 813-1, 814-1A, 815-1 and 816-1\u003cbr\u003eFirst issued on RCA Victor 11-8789\/91 in album M-999\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\n    providing source material\n\u003c\/p\u003e\n\u003cp\u003e\n    All works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 69:11\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\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eBRAHMS Hungarian Dances, WoO 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1 No. 1 in G minor (3:41)\n\u003c\/p\u003e\n\u003cp\u003e\n    2 No. 3 in F major (2:34)\n\u003c\/p\u003e\n\u003cp\u003e\n    3 No. 7 in A major (F major for orchestral version) (1:26)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eDVOŘÁK Slavonic Dances, Op. 46\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    4 No. 8 in G minor (3:55)\n\u003c\/p\u003e\n\u003cp\u003e\n    5 No. 2 in E minor (4:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    6 No. 4 in F major (7:11)\n\u003c\/p\u003e\n\u003cp\u003e\n    7 No. 1 in C major (3:32)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eENESCU Romanian Rhapsodies, Op. 11\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8 No. 1 in A major (11:44)\n\u003c\/p\u003e\n\u003cp\u003e\n    9 No. 2 in D major (10:51)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eKHATCHATURIAN Gayaneh – Ballet Suite\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    10 Introduction and Dance of the Rose Maidens (4:44)\n\u003c\/p\u003e\n\u003cp\u003e\n    11 Awakening and Dance of Aysha (6:57)\n\u003c\/p\u003e\n\u003cp\u003e\n    12 Dance of the Mountaineers (1:39)\n\u003c\/p\u003e\n\u003cp\u003e\n    13 Lullaby (5:17)\n\u003c\/p\u003e\n\u003cp\u003e\n    14 Sabre Dance (2:28)\n\u003c\/p\u003e\n\u003cp\u003e\n    15 Armen’s Variation (1:51)\n\u003c\/p\u003e\n\u003cp\u003e\n    16 Dance of the Young Kurds (3:26)\n\u003c\/p\u003e\n\u003cp\u003e\n    17 Lezghinka (3:12)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eFabien Sevitzky ∙ Indianapolis Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\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\u003eArtwork based on a photograph of Fabien Sevitzky\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Brahms recorded 29 January 1942 on matrices CS 071357-1 and 071358-2. First\n    issued on Victor 11-8223.\n\u003c\/p\u003e\n\u003cp\u003e\n    Dvořák, Enescu and Khatchaturian recorded on 22 – 23 January 1953 and first\n    issued on Capitol H-8211 (Dvořák), H-8210 (Enescu) and P-8223\n    (Khatchaturian).\n\u003c\/p\u003e\n\u003cp\u003e\n    All recordings made in the Murat Theatre, Indianapolis.\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing 78:57\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eFABIEN SEVITZKY and the INDIANAPOLIS SYMPHONY, Volume 4\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cstrong\u003eVictor Studio Recordings ∙ 1941 \u0026amp; 1946\u003c\/strong\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\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTCHAIKOVSKY Symphony No. 1 in G minor, Op. 13 “Winter Dreams” (1866)\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro tranquillo (“Dreams of a Winter Journey”) (11:13)\u003cbr\u003e2. 2nd Mvt.: Adagio cantabile ma non tanto (“Land of Desolation, Land of\n    Mists”) (10:29)\u003cbr\u003e3. 3rd Mvt.: Scherzo: Allegro scherzando giocoso (6:13)\u003cbr\u003e4. 4th Mvt.: Finale: Andante lugubre – Allegro maestoso (11:54)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 March 1946\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eMatrix nos.: D6-RC-5250-2A, 5251-2, 5252-1C, 5253-1, 5254-2, 5255-1C,\n    5256-2A, 5257-2C \u0026amp; 5258-2\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eFirst issued on RCA Victor 12-0040\/4 in album M-1189\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKALINNIKOV: Symphony No. 1 in G minor (1894-95)\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro moderato (9:40)\u003cbr\u003e6. 2nd Mvt.: Andante commodamente (8:52)\u003cbr\u003e7. 3rd Mvt.: Scherzo: Allegro non troppo – Moderato assai (7:32)\u003cbr\u003e8. 4th Mvt.: Finale: Allegro moderato (9:28)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 \u0026amp; 8 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 057576-1, 057577-1A, 057578-1, 057579-2, 057580-1,\n    057581-2, 057582-1 \u0026amp; 057583-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 18187\/90 in album M-827\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 75:20\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eHAYDN L’isola disabitata, Hob. XXVIII:9 – Overture \u003c\/strong\u003e\n    (7:55)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 29 January 1942 ∙ Matrices: CS 071360-1 \u0026amp; 071361-1 ∙ First\n    issued on Victor 11-8487\n\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eHAYDN Symphony No. 73 in D major, Hob. I:73 “La chasse”\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Adagio – Allegro (5:13)\u003cbr\u003e3. 2nd Mvt.: Andante (6:18)\u003cbr\u003e4. 3rd Mvt.: Menuetto (3:01)\u003cbr\u003e5. 4th Mvt.: Presto (3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 February 1945 ∙ Matrices: D5-RC-806-1B, 807-1A, 808-1, 809-1A\n    \u0026amp; 810-2A ∙ First issued on RCA Victor 12-0952\/4 in album M-1312\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Sigurd Jorsalfar – Suite, Op. 56\u003c\/strong\u003e\u003cbr\u003e6. Prelude (In the King’s Hall) (4:04)\u003cbr\u003e7. Intermezzo (Borghild’s Dream) (4:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrices: CS 057584-3A \u0026amp; 057585-2A ∙ First\n    issued on Victor 18291\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Peer Gynt – Suite No. 2 , Op. 55\u003c\/strong\u003e\u003cbr\u003e8. Ingrid’s Lament (4:11)\u003cbr\u003e9. Arabian Dance (4:50)\u003cbr\u003e10. Return of Peer Gynt (2:30)\u003cbr\u003e11. Solvejg’s Song (5:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 January 1942 ∙ Matrices: CS 071347-1, 071348-1, 071349-1 \u0026amp;\n    071350-1 ∙ First issued on Victor 11-8163\/4 in album M-902\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Symphonic Dances, Op. 64\u003c\/strong\u003e\u003cbr\u003e12. No. 1 in G major – Allegro moderato e marcato (4:51)\u003cbr\u003e13. No. 2 in A major – Allegretto grazioso (4:42)\u003cbr\u003e14. No. 3 in D major – Allegro giocoso (4:49)\u003cbr\u003e15. No. 4 in A minor – Andante – Allegro molto e risoluto (8:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrices: D5-RC-817-1, 818-1A, 819-1, 820-2\n    \u0026amp; 821-1 ∙ First issued on RCA Victor 11-9245\/7 in album M-1066\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 73:28\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 6\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1.\n    \u003cstrong\u003e\n\u003cspan style=\"font-size: 18px;\"\u003eKREISLER (orch. Sevitzky) Praeludium and Allegro (in the Style of\n        Pugnani)\u003c\/span\u003e\n\u003c\/strong\u003e\n    (6:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 January 1942 ∙ Matrices: CS 071328-1 \u0026amp; 071329-2 ∙ First\n    issued on Victor 11-8439\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSGAMBATI (orch. Dubensky) Vecchio Minuetto\u003c\/span\u003e \u003c\/strong\u003e(4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrix: D5-RC-825-1 ∙ First issued on Victor\n    12-0954 in album M-1312\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e3.    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER (orch. Dubensky) Waltz (No. 5 from Favoritenwalzer)\u003c\/span\u003e \u003c\/strong\u003e\n    (2:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057596-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II Voices of Spring (\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eFr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eü\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003ehlingsstimmen\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e) – Waltz, Op. 410\u003c\/span\u003e \u003c\/strong\u003e(5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057590-1 ∙ First issued on Victor\n    11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Copp\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eélia – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thème slave varié (5:07)\u003cbr\u003e6. Danse fête (1:21)\u003cbr\u003e7. Valse des heures (3:33)\u003cbr\u003e8. Nocturne (3:09)\u003cbr\u003e9. Danse des automates et Valse (4:55)\u003cbr\u003e10. Czardas (3:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5260-2A, 5261-1, 5262-1A, 5263-1A,\n    5264-2A \u0026amp; 5265-1 ∙ First issued on RCA Victor 12-0909\/11 in album\n    M-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Sylvia\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e11. Prélude et Les Chasseresses (4:30)\u003cbr\u003e12. Intermezzo et Valse lente (2:53)\u003cbr\u003e13. Pizzicati (1:48)\u003cbr\u003e14. Cortège de Bacchus (5:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5266-2, 5267-2A, 5268-1 \u0026amp;\n    5269-1 ∙ First issued on RCA Victor 12-0912\/13 in album M-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN Masquerade – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e15. Waltz (4:12)\u003cbr\u003e16. Nocturne (4:18)\u003cbr\u003e17. Mazurka (2:18)\u003cbr\u003e18. Romance (3:27)\u003cbr\u003e19. Galop (2:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 January 1953 ∙ First issued on Capitol P-8223\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\n\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\n    providing source material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eTotal Timing: 71:43\n\u003c\/b\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":40425144844349,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205518803278,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC680.jpg?v=1769530008"},{"product_id":"pabx040-cd","title":"SEVITZKY and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53) - 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After showing promise on the\n    violin at a very young age, he was accepted as a student by Jenő Hubay and\n    made his Berlin debut at thirteen. Shortly thereafter, he settled in\n    England for several years. It was during this period that he met Ferruccio\n    Busoni, who was to become a major influence in moving the young prodigy\n    from being merely a talented virtuoso toward becoming a more intellectual\n    and analytical musician.\n\u003c\/p\u003e\n\u003cp\u003e\n    A stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced\n    Szigeti to a fellow Hungarian who was to become another major influence on\n    him as a musician and a lifelong friend, Béla Bartók. Szigeti remained in\n    Switzerland for several years, teaching and expanding his facility in\n    playing chamber works. In 1925, he played for a visiting Leopold Stokowski,\n    and was quickly invited to make his American debut. He shortly became\n    established internationally as a concert artist. He settled in the USA in\n    1940, and continued his concert career for another twenty years before\n    retiring to write and teach. He died in 1973.\n\u003c\/p\u003e\n\u003cp\u003e\n    Szigeti’s earliest recordings were made in England for the Gramophone and\n    Typewriter Company between 1908 and 1913. He made no further discs during\n    the acoustic era, save for a handful recorded in Russia in either 1924 or\n    1926. In the latter year, he began an association with English Columbia\n    that lasted for eleven years, with one session for their Japanese affiliate\n    in 1931 that produced four sides. In 1938, he began recording for American\n    Columbia, where he remained until 1956, with one set (the Bloch Concerto)\n    done for French Columbia in 1939, a single disc made for the American New\n    Music Quarterly label in 1941, and a return to English Columbia for four\n    sides in 1946. His final recordings were made for Mercury in 1959-61.\n\u003c\/p\u003e\n\u003cp\u003e\n    This series presents all of the Columbia recordings he made in Britain,\n    France and Japan, as well as the one New Music Quarterly disc, as a\n    complement to Sony’s recent set comprising his American Columbia\n    recordings. From the 1940s onward, Szigeti began to experience increasing\n    technical problems. American Columbia passed on releasing his 1955-56\n    recordings of Bach Sonatas and Partitas as well as several contemporaneous\n    LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard.\n    Szigeti himself ruefully referred to his final Mercury LPs as his\n    “posthumous recordings”. The performances featured in this series are\n    generally judged to be his finest on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Berlioz which begins our program devoted to works of the Romantic era\n    was one of two discs Szigeti recorded during his return to Britain after\n    the war. It is the latest recording in this series. While Szigeti made\n    three recordings of the Beethoven and Brahms concertos (one each for\n    English Columbia, American Columbia and Mercury), he only made one of the\n    Mendelssohn, the classic account with Beecham presented here. The\n    additional version of the Adagio from the Brahms sonata was made as the\n    filler to Szigeti’s recording of the Brahms concerto with Harty. He would\n    do the same for his later remake with Ormandy, even after having recorded\n    the sonata complete with Petri.\n\u003c\/p\u003e\n\u003cp\u003e\n    Szigeti re-recorded the Dvořák\/Kreisler Slavonic Dance in E minor less than\n    two years after his initial version, presumably to broaden the tempo. Both\n    were released under the same catalog number in the UK with no take numbers\n    shown, and the only way to tell them apart is by listening and comparing\n    copies. Both takes are being reissued together here for the first time.\n    This volume also includes two recordings of works by Szigeti’s teacher,\n    Hubay, one of them from the violinist’s only Japanese session. The two\n    Elgar works (in Szigeti’s own arrangements) were recorded as a tribute only\n    four days after the composer’s death.\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;\"\u003eJOSEPH SZIGETI\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003e The European Columbia Recordings, Volume 2\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 (73:46)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eBERLIOZ R\u003c\/strong\u003e\u003cstrong\u003ee\u003c\/strong\u003e\u003cstrong\u003everie and Caprice, \u003c\/strong\u003e \u003cstrong\u003eOp. 8 \u003c\/strong\u003e(9:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 August 1946 in Abbey Road Studio No. 1, London ∙ Matrices: CAX\n    9678-2 \u0026amp; 9679-1 ∙ First issued on Columbia LX 946\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMENDELSSOHN Violin Concerto in E minor, Op. 64\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt. – Allegro molto appassionato – Presto (12:21)\u003cbr\u003e3. 2nd Mvt. – Andante (8:18)\u003cbr\u003e4. 3rd Mvt. – Allegro non troppo – Allegro molto vivace (6:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27-28 September 1933 in Abbey Road Studio No. 1, London ∙\n    Matrices: CAX 6932-2, 6933-2, 6934-1, 6935-2, 6936-1, 6937-1 \u0026amp; 6938-1 ∙\n    First issued on Columbia LX 262\/5\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eBRAHMS Violin Concerto in D major, Op. 77\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt. – Allegro ma non troppo (Cadenza: Joachim) (20:56)\u003cbr\u003e6. 2nd Mvt. – Adagio (8:59)\u003cbr\u003e7. 3rd Mvt. – Allegro giocoso, ma non troppo vivace (7:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 3-5 December 1928 in Free Trade Hall, Manchester ∙ Matrices: WAX\n    4420-2, 4421-3, 4422-3, 4423-3, 4424-2, 4425-2, 4426-1, 4427-2 \u0026amp; 4428-2\n    ∙ First issued on Columbia L 2265\/9\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eConstant Lambert ∙ Philharmonia Orchestra \u003c\/strong\u003e\n  \n    (Track 1)\u003cstrong\u003e\u003cbr\u003eSir Thomas Beecham ∙ London Philharmonic Orchestra \u003c\/strong\u003e\n    (Tracks 2 – 4)\u003cstrong\u003e\u003cbr\u003eSir Hamilton Harty ∙ Hall\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\n\u003cstrong\u003e Orchestra \u003c\/strong\u003e\n    (Tracks 5 – 7)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 2 (73:19)\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\u003eBRAHMS Violin Sonata No. 3 in D minor, Op. 108\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Allegro (8:44)\u003cbr\u003e2. 2nd Mvt. – Adagio (4:45)\u003cbr\u003e3. 3rd Mvt. – Un poco presto e con sentimento (3:08)\u003cbr\u003e4. 4th Mvt. – Presto agitato (6:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 December 1937 in Abbey Road Studio No.3, London ∙ Matrices: CAX\n    8134-1, 8135-1, 8136-2, 8137-2, 8138-3 \u0026amp; 8139-2 ∙ First issued on\n    Columbia LX 699\/701\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    5. 2nd Mvt. – Adagio (4:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 July 1927 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 2930-2 ∙ First issued on Columbia L 2269\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n6. \u003cstrong\u003eDVO\u003c\/strong\u003e\u003cstrong\u003eŘÁ\u003c\/strong\u003e\u003cstrong\u003eK (arr. Kreisler) Slavonic Dance in G minor, Op. 46, No. 2\u003c\/strong\u003e\n    (3:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 June 1927 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 2913-2 ∙ First issued on Columbia L 2097\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n7. \u003cstrong\u003eDVO\u003c\/strong\u003e\u003cstrong\u003eŘÁ\u003c\/strong\u003e\u003cstrong\u003eK (arr. Kreisler) Slavonic Dance in E minor, Op. 72, No. 2\u003c\/strong\u003e\n    – first recording (3:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 September 1926 in the Columbia Petty France Studio, London ∙\n    Matrix: WAX 1773-5 ∙ First issued on Columbia L 1963\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n8. \u003cstrong\u003eDVO\u003c\/strong\u003e\u003cstrong\u003eŘÁ\u003c\/strong\u003e\u003cstrong\u003eK (arr. Kreisler) Slavonic Dance in E minor, Op. 72, No. 2\u003c\/strong\u003e\n    – second recording (4:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 June 1928 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 1773-8 ∙ First issued on Columbia L 1963\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    9. \u003cstrong\u003eHUBAY Zephyr, Op. 30, No. 5 \u003c\/strong\u003e(3:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 July 1926 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 1789-2 ∙ First issued on Columbia L 1788\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n10.    \u003cstrong\u003eHUBAY Scenes from the Czardas No. 3, Op. 18, “Maros vize” \u003c\/strong\u003e\n    (6:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18-19 June 1931 in Tokyo ∙ Matrices: NE 35246\/7 ∙ First issued on\n    Japanese Columbia J 5175\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    11.\n    \u003cstrong\u003e\n        RIMSKY-KORSAKOV (arr. Hartmann) Flight of the Bumblebee from Tsar\n        Sultan, Op. 57\n    \u003c\/strong\u003e\n    (1:15)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrix: CAX\n    6852-1 [part] ∙ First issued on Columbia LX 307\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    12.\n    \u003cstrong\u003e\n        FALLA (arr. Kreisler) Danza española No. 1 from La vida breve\n    \u003c\/strong\u003e\n    (3:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18-19 June 1931 in Tokyo ∙ Matrix: NE 35245 ∙ First issued on\n    Japanese Columbia J 5169\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n13. \u003cstrong\u003eCHABRIER (arr. Loeffler) Scherzo-valse from Pi\u003c\/strong\u003e\u003cstrong\u003eè\u003c\/strong\u003e\u003cstrong\u003eces pittoresques \u003c\/strong\u003e(4:30)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 May 1933 in Abbey Road Studio No. 3, London ∙ Matrix: CAX\n    6849-2 ∙ First issued on American Columbia 68162-D\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    14. \u003cstrong\u003eELGAR (arr. Szigeti) Adieu \u003c\/strong\u003e(2:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 February 1934 in Abbey Road Studio No. 3, London ∙ Matrix: CA\n    14361-1 ∙ First issued on Columbia LB 14\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    15. \u003cstrong\u003eELGAR (arr. Szigeti) Serenade \u003c\/strong\u003e(2:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 February 1934 in Abbey Road Studio No. 3, London ∙ Matrix: CA\n    14362-1 ∙ First issued on Columbia LB 14\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    16.\n    \u003cstrong\u003e\n        KREISLER Sicilienne et rigaudon (in the style of Francoeur)\n    \u003c\/strong\u003e\n    (3:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 July 1926 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 1788-1 ∙ First issued on Columbia L 1788\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eKREISLER Liebesleid \u003c\/strong\u003e(3:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 June 1928 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 3742-2 ∙ First issued on Columbia L 2225\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    18. \u003cstrong\u003eKREISLER Tambourin chinois, Op,. 3 \u003c\/strong\u003e(3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 June 1927 in the Columbia Petty France Studio, London ∙ Matrix:\n    WAX 2917-4 ∙ First issued on Columbia L 2037\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eEgon Petri, piano \u003c\/strong\u003e(Tracks 1 – 4)\u003cstrong\u003e\u003cbr\u003eKurt Ruhrseitz, piano \u003c\/strong\u003e\n    (Tracks 5 – 9, 16 – 18)\u003cstrong\u003e\u003cbr\u003eNikita Magaloff, piano\u003c\/strong\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n    (Tracks 10 – 15)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eJoseph Szigeti, violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal duration: 2hr 27:05\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC682.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC682.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":40463137407037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205518541134,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC682_869b528f-5fa2-4137-8439-1ac4e9dc022b.jpg?v=1695117922"},{"product_id":"pasc682-cd","title":"SZIGETI The European Columbia Recordings, Volume 3 (1926-46) - 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While\n    the recordings he  made during this period with such legendary soloists as\n    Rachmaninov, Kreisler,  Heifetz, Feuermann, Rubinstein, Flagstad, Melchior\n    and others have deservedly  remained in the catalog for decades, this series\n    focuses on his purely  orchestral recordings, which have been rather\n    overlooked in reissues.  Among the items included in the present  program,\n    only the Tchaikovsky “Pathétique” has seen previous reissue on both  LP and\n    CD.  The \u003cem\u003eNutcracker\u003c\/em\u003e Suite was  last offered on a 10-inch LP in the\n    early 1950s; the Tchaikovsky Fifth has been  unavailable since the 78-rpm\n    era; and the two Rimsky-Korsakov items are seeing their  first release here.\n\u003c\/p\u003e\n\u003cp\u003e\n    The \u003cem\u003eNutcracker\u003c\/em\u003e Suite might rightly  be called the Philadelphia\n    Orchestra’s “contractual obligation album.”    Ormandy  had first recorded\n    the work with them in December, 1941; but like many Victors  of that period\n    (including the Philadelphia sides conducted by Toscanini), the  matrices\n    suffered from processing problems that rendered them too noisy to  release.\n    By the end of the first  Petrillo recording ban (1942-44), the orchestra had\n    switched to Columbia, making  their first records for that label in\n    November, 1944.  However, under their contract, they were  allowed to\n    re-make existing Victor sides that were awaiting release.  And so, in\n    January of 1945, this single album  was made for RCA.  The Overture is taken\n    at a notably broader tempo than Ormandy would use in his 1952\/3 Columbia LP\n    remake, although for that later recording, he would still have the violins\n    play  an octave higher in repeated phrases in the “Waltz of the Flowers.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Although he inherited Stokowski’s  orchestra, Ormandy’s conducting idol was\n    Toscanini, whose influence can be  heard in the two Tchaikovsky symphony\n    recordings.  While the Fifth Symphony was not in the  Italian Maestro’s\n    repertoire, Ormandy’s 1941 recording reflects a Toscanini-like  approach,\n    with swift tempi and ever-forward movement (e.g., the end of the  first\n    movement).  Ormandy restores the  big cut in the fourth movement taken by\n    Mengelberg (Pristine PASC 511) and  Stock (PASC 684), as well as smaller\n    ones imposed by Stokowski, like the  lead-in to the final peroration in the\n    fourth movement.  A similar aesthetic is evident in the “Pathétique”,  which\n    dates from Ormandy’s first recording session with the Philadelphians in\n    December, 1936 (with the first and last sides remade a month later).\n    Ormandy would go on to re-record these two  symphonies four more times over\n    his long career, in increasingly more expansive  readings.\n\u003c\/p\u003e\n\u003cp\u003e\n    The arrangement Ormandy made of a short,  atmospheric scene from\n    Rimsky-Korskakov’s opera, \u003cem\u003eChristmas Eve\u003c\/em\u003e, begins  with music\n    reminiscent of the Eastern Orthodox hymn Tchaikovsky used to open  his\n    \u003cem\u003e\n        1812\n    \u003c\/em\u003e\n    Overture.  No coupling  for this side was recorded at the time, so it has\n    remained unissued until now.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s Philadelphia recordings of  Russian repertoire during this period\n    are sparse; the only other work taken  down in the studio was Lucien\n    Cailliet’s transcription of Mussorgsky’s \u003cem\u003ePictures  at an Exhibition\u003c\/em\u003e\n    (already reissued on PASC 444).  To conclude our program, we turn to a\n    previously  unpublished live performance.  On the  same Easter Sunday that\n    Marian Anderson’s historic recital on the steps of the  Lincoln Memorial\n    captured the attention of American radio listeners, Ormandy  and his\n    Philadelphians offered a broadcast concert on NBC’s “Magic Key of RCA”\n    program,  concluding with a blazing performance of Rimsky-Korsakov’s\n    \u003cem\u003e\n        Russian Easter  Overture\n    \u003c\/em\u003e\n    , which had to be abridged to fit the one-hour time constraint of  the\n    program.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 4\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 1\n        (66:10)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  The Nutcracker - Suite, Op. 71a\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e1. Miniature Overture (3:30)\u003cbr\u003e2. March (2:14)\u003cbr\u003e3. Dance of the Sugar-Plum Fairy (1:44)\u003cbr\u003e4. Russian Dance (1:07)\u003cbr\u003e5. Arabian Dance (3:46)\u003cbr\u003e6. Chinese Dance (1:07)\u003cbr\u003e7. Dance of the Flutes (2:06)\u003cbr\u003e8. Waltz of the Flowers (6:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1945 ∙ Matrices: D5-RC-643\/8 ∙ First  issued on RCA\n    Victor 11-8912\/4 in album M-1020\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY Symphony No. 5\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    in E minor, Op. 64\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e9.           1st  Mvt. -\n    \n        Andante - Allegro con anima\n    \n    (13:24)\u003cbr\u003e10.        2nd Mvt. -\n    \n        Andante cantabile,  con alcuna licenza\n    \n    (13:09)\u003cbr\u003e11.        3rd  Mvt. - Valse: Allegro moderato\n    (5:59)\u003cbr\u003e12.        4th  Mvt. -\n    \n        Andante maestoso - Allegro vivace\n    \n    (11:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062550-1, 062551-1A,  062552-1A,\n    062553-2, 062554-1A, 062555-1A, 062556-1A, 062557-1A, 062558-1A  \u0026amp;\n    062559-1A ∙ First issued on Victor 18177\/81 in album M-828\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003eCD 2\n        (55:24)\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    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  Symphony No. 6 in B minor, Op. 74, “Path\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eé\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003etique”\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e1.           1st  Mvt. -\n    \n        Adagio - Allegro non troppo\n    \n    (16:20)\u003cbr\u003e2.           2nd  Mvt. - Allegro con grazia (7:41)\u003cbr\u003e3.           3rd  Mvt. - Allegro molto vivace\n    (8:20)\u003cbr\u003e4.           4th  Mvt. - Finale: Adagio lamentoso\n    (8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 and *9 January 1937 ∙ Matrices: CS  03131-4A*,\n    03132-1, 03133-1, 03134-1, 03135-2, 03136-1, 03137-1, 03138-1,  03139-1\n    \u0026amp; 03140-2* ∙ First issued on Victor 14264\/8 in album M-337\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    5.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV (arr. Ormandy)  Church Scene from\n        \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n            Christmas Eve\u003c\/span\u003e\n        \u003c\/em\u003e\n        \u003c\/strong\u003e\n    \n    \u003cstrong\u003e\u003c\/strong\u003e(3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 December 1941 ∙ Matrices: CS 071291-1 ∙ Previously  unpublished\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e6.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV Russian  Easter Overture, Op. 36\u003c\/span\u003e\u003c\/strong\u003e\n    \n    \u003cem\u003e(abridged)\u003c\/em\u003e (10:41) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eAnnouncer:   Milton Cross\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the NBC “Magic Key of RCA” broadcast of 9 April 1939\n    \n    · Previously unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eEugene  Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown, Frederick P. Fellers, Richard Kaplan and\n    Charles Niss  for providing source material\u003cbr\u003eAll  recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Violins\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTARTINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata in G\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTARTINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto in D minor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 21\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eshort works by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH, EXAUDET, TARTINI, VERACINI\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePAGANINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCaprices\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRondo\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBerlioz, Hubay, Elgar, Kreisler, Dvořák, Chabrier, Rimsky-Korsakov, Falla\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWARLOCK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCapriol Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARTÓK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eHungarian Folk Tunes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARTÓK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomanian Folk Dances\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eIVES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Sonata No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBLOCH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDebussy, Ravel, Milhaud, Lie, Szymanowski, Scriabin, Stravinsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC695.mp3","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":46887754137934,"sku":null,"price":77.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205515624782,"sku":null,"price":63.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC695.jpg?v=1772119371"},{"product_id":"pabx042-cd","title":"SZIGETI The Complete European Columbia Recordings (1926-46) - PABX042 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"7 CDs only in plastic sleeves (+MP3)","offer_id":46888422900046,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC695_2e293642-8e38-46fb-938f-ce7b1ffdb00f.jpg?v=1689864122"},{"product_id":"pabx046","title":"ORMANDY and The Philadelphia Orchestra - The Early Years Complete - PABX046","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBach, Barber, Beethoven, Brahms, Liszt, Mozart, Ravel, Rimsky-Korsakov, Schubert, Schumann, Sibelius, J. Strauss, R. Strauss, Tchaikovsky, Telemann, Wagner\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e and more\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by Eugene Ormandy\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio \u0026amp; live recordings, 1936-1945\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC726.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\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\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\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\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n   \n        The present release is the second in a series devoted to Eugene\n        Ormandy’s early recordings with the Philadelphia Orchestra for the\n        Victor and World’s Greatest Music labels from 1936 through 1942, with\n        one additional Victor recording from 1945. While the recordings he made\n        during this period with such legendary soloists as Rachmaninov,\n        Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\n        have deservedly remained in the catalog for decades, this series will\n        focus on his purely orchestral recordings, which have been rather\n        overlooked in reissues. No remade versions of the Telemann and Mozart works in this release ever appeared during the conductor's long career, and only the Beethoven ever received an “official” extended play reissue from\n        RCA, on a Camden LP.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s forays into the Baroque repertoire during this period centered\n    around Bach transcriptions arranged by Lucien Cailliet (collected on\n    Pristine PASC 444 and 532), although he and the orchestra did record the\n    second and third Brandenburg Concertos anonymously for World’s Greatest\n    Music, forthcoming in this series. The Telemann work, which is reminiscent\n    of Bach’s more well-known Suite in B minor for Flute and Strings, is a\n    showpiece for the Philadelphia’s principal flute, William Kincaid, who\n    joined the orchestra in 1921 and stayed just long enough to welcome\n    Stokowski back in 1960. In an early nod to Historically Informed\n    Performance, an ensemble of 29 players including a harpsichord continuo was\n    used for this recording, although some changes to the text were made in the\n    edition employed (shortening the ending of the Ouverture, playing only the second Minuet and moving the Réjouissance to the end, probably to make it structured more like Bach's suite, which concludes with a fast Badinerie). Twice during the 1950s,\n    Columbia re-recorded the work for an LP issue that never materialized,\n    leaving this the sole Ormandy version.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Mozart Divertimento which follows on our program is probably the rarest\n    of all of Ormandy’s Philadelphia 78s due to the way it was originally\n    packaged, as two 10-inch discs and a 12-inch disc, the last of which is\n    almost invariably found broken in the album. It was a work to which Ormandy\n    never returned in the studio. The Beethoven symphony is seldom found for a\n    different reason: Ormandy had the bad timing to record it nine months\n    before Toscanini made his own much-admired set with the BBC Symphony, which\n    appeared on the same HMV\/Victor labels. Like the Mengelberg\/New York\n    Philharmonic account which it was intended to replace in the catalog, it\n    ran to eight sides in order to include the first movement repeat, making it\n    somewhat less competitive to record buyers who could purchase Weingartner’s\n    repeat-free version (made the same month as Toscanini’s) on six sides.\n\u003c\/p\u003e\n\u003cp\u003e\n    Sibelius was one of Ormandy’s specialties throughout his career. He had\n    already recorded the First Symphony in Minneapolis on ten sides, but\n    re-made the set only six years later in Philadelphia on eight longer sides\n    in a somewhat faster (but not by much!) reading. The recordings of the\n    three tone poems were done for an album celebrating the composer’s 75th\nbirthday. Although he was to re-record \u003cem\u003eFinlandia\u003c\/em\u003e and    \u003cem\u003eThe Swan of Tuonela\u003c\/em\u003e several more times over his career, Ormandy\n    only returned to \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e on disc for his two\n    complete recordings of the \u003cem\u003eLemminkäinen\u003c\/em\u003e \u003cem\u003eSuite\u003c\/em\u003e (the\n    earlier of which is on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc205\"\u003ePASC 205\u003c\/a\u003e). As commentator Edward Johnson points out,\nOrmandy adds tam-tam strokes in the nine bars before Letter P of the    \u003cem\u003eReturn\u003c\/em\u003e, an addition to the score also employed by Beecham in his\n    earlier recording. The Enescu was another work Ormandy had previously\n    recorded in Minneapolis, the earlier version on four 10-inch sides. Here,\n    the conductor was able to fit it on two rather long 12-inch sides in a\n    performance, like that of \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e, of incredible\n    speed and immense excitement. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\n        The present release is the third in a series devoted to Eugene\n        Ormandy’s early recordings with the Philadelphia Orchestra for the\n        Victor and World’s Greatest Music labels from 1936 through 1942, with\n        one additional Victor recording from 1945. While the recordings he made\n        during this period with such legendary soloists as Rachmaninov,\n        Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\n        have deservedly remained in the catalog for decades, this series\n        focuses on his purely orchestral recordings, which have been rather\noverlooked in reissues. Except for the \u003cem\u003eSymphonia\u003c\/em\u003e \u003cem\u003eDomestica\u003c\/em\u003e, which was previously reissued on LP (Camden) and CD\n        (Biddulph), none of the recordings presented here have been available\n        since the 78 rpm era.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Leopold Stokowski left a formidable legacy of Wagner recordings during the\n    years of his directorship of the Philadelphia Orchestra, enough to fill\n    more than four CDs; so it is rather surprising that Ormandy’s 10-inch disc\n    of \u003cem\u003eMeistersinger\u003c\/em\u003e excerpts presented here is his only example of\n    orchestral Wagner on record during this period, although he also provided\n    several vocal accompaniments for Flagstad and Melchior.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had first recorded the Brahms Second Symphony with the\n    Philadelphians anonymously for the World’s Greatest Music series nine\n    months before the version presented here (to be released in Volume 5 of\n    this series). The earlier version was on ten sides, while this one was on\n    twelve, like the 1929 Stokowski version (reissued on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc562\" target=\"_blank\"\u003ePASC 562\u003c\/a\u003e) it\n    was intended to replace. Apparently, this was not due to a more expansive\n    interpretation; indeed, according to Richard Kaplan’s Philadelphia\n    Orchestra discography, the 12-sided version is 11 seconds faster than the\n    ten-sided one. Victor’s decision made the set rather uncompetitive in a\n    field which otherwise had ten- or even eight-sided Brahms Seconds.\n    (Interestingly, the earlier version was reissued on RCA’s Camden LP series,\n    the only World’s Greatest Music release to be so chosen.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy had already recorded a best-selling album of Johann Strauss\n    overtures and waltzes with the Minneapolis Symphony before setting down the\n    three waltzes heard here. While he remade the \u003cem\u003eEmperor \u003c\/em\u003eWaltz ten\n    years later for a Columbia LP, the other two had to wait until the stereo\nera for another Ormandy\/Philadelphia version. Richard Strauss’    \u003cem\u003eRosenkavalier\u003c\/em\u003e Waltzes had also already been set down by Ormandy in\n    Minneapolis on three ten-inch sides. Here, he was able to take advantage of\n    longer recording times to re-record it on a single 12-inch disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony was a mere six years old\n    when Ormandy made the recording included here. It was only the second\n    version on disc, following the composer’s own 1934 recording; and the two\n    would go on to become the only sets available during the 78 rpm era. As so\n    often when they were playing what was then “new music”, Ormandy and his\n    Philadelphians bring an almost missionary zeal to the performance, which\n    blazes with intensity, particularly in the brass.\n\u003c\/p\u003e\n\u003cp\u003e\n    For his first Richard Strauss tone poem on disc, Ormandy chose the then\n    lesser-known \u003cem\u003eSymphonia Domestica\u003c\/em\u003e for what became its first\n    electrical recording. (There had been a late acoustic set with Eduard\n    Mörike; and the only other 78-era recording would be Carl Schuricht’s\n    version from three years later, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc320\" target=\"_blank\"\u003ePASC 320\u003c\/a\u003e.) For the next couple years,\n    Ormandy would be Victor’s “go-to” conductor for Strauss tone poems, setting\n    down \u003cem\u003eEin Heldenleben\u003c\/em\u003e in 1939 (in Volume 1 of our series, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc578\" target=\"_blank\"\u003ePASC 578\u003c\/a\u003e)\n    and \u003cem\u003eDon Quixote\u003c\/em\u003e with Feuermann the following year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc168\" target=\"_blank\"\u003ePASC 168\u003c\/a\u003e).\n    While he continued to record and re-record most of the major Strauss\norchestral works until the end of his career, he never returned to the    \u003cem\u003eDomestica\u003c\/em\u003e, leaving this his sole statement on the work.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the fourth 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 (the \u003cem\u003eNutcracker\u003c\/em\u003e Suite presented  here) from 1945.  While\n    the recordings he  made during this period with such legendary soloists as\n    Rachmaninov, Kreisler,  Heifetz, Feuermann, Rubinstein, Flagstad, Melchior\n    and others have deservedly  remained in the catalog for decades, this series\n    focuses on his purely  orchestral recordings, which have been rather\n    overlooked in reissues.  Among the items included in the present  program,\n    only the Tchaikovsky “Pathétique” has seen previous reissue on both  LP and\n    CD.  The \u003cem\u003eNutcracker\u003c\/em\u003e Suite was  last offered on a 10-inch LP in the\n    early 1950s; the Tchaikovsky Fifth has been  unavailable since the 78-rpm\n    era; and the two Rimsky-Korsakov items are seeing their  first release here.\n\u003c\/p\u003e\n\u003cp\u003e\n    The \u003cem\u003eNutcracker\u003c\/em\u003e Suite might rightly  be called the Philadelphia\n    Orchestra’s “contractual obligation album.”    Ormandy  had first recorded\n    the work with them in December, 1941; but like many Victors  of that period\n    (including the Philadelphia sides conducted by Toscanini), the  matrices\n    suffered from processing problems that rendered them too noisy to  release.\n    By the end of the first  Petrillo recording ban (1942-44), the orchestra had\n    switched to Columbia, making  their first records for that label in\n    November, 1944.  However, under their contract, they were  allowed to\n    re-make existing Victor sides that were awaiting release.  And so, in\n    January of 1945, this single album  was made for RCA.  The Overture is taken\n    at a notably broader tempo than Ormandy would use in his 1952\/3 Columbia LP\n    remake, although for that later recording, he would still have the violins\n    play  an octave higher in repeated phrases in the “Waltz of the Flowers.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Although he inherited Stokowski’s  orchestra, Ormandy’s conducting idol was\n    Toscanini, whose influence can be  heard in the two Tchaikovsky symphony\n    recordings.  While the Fifth Symphony was not in the  Italian Maestro’s\n    repertoire, Ormandy’s 1941 recording reflects a Toscanini-like  approach,\n    with swift tempi and ever-forward movement (e.g., the end of the  first\n    movement).  Ormandy restores the  big cut in the fourth movement taken by\n    Mengelberg (Pristine PASC 511) and  Stock (PASC 684), as well as smaller\n    ones imposed by Stokowski, like the  lead-in to the final peroration in the\n    fourth movement.  A similar aesthetic is evident in the “Pathétique”,  which\n    dates from Ormandy’s first recording session with the Philadelphians in\n    December, 1936 (with the first and last sides remade a month later).\n    Ormandy would go on to re-record these two  symphonies four more times over\n    his long career, in increasingly more expansive  readings.\n\u003c\/p\u003e\n\u003cp\u003e\n    The arrangement Ormandy made of a short,  atmospheric scene from\n    Rimsky-Korskakov’s opera, \u003cem\u003eChristmas Eve\u003c\/em\u003e, begins  with music\n    reminiscent of the Eastern Orthodox hymn Tchaikovsky used to open  his\n    \u003cem\u003e\n        1812\n    \u003c\/em\u003e\n    Overture.  No coupling  for this side was recorded at the time, so it has\n    remained unissued until now.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ormandy’s Philadelphia recordings of  Russian repertoire during this period\n    are sparse; the only other work taken  down in the studio was Lucien\n    Cailliet’s transcription of Mussorgsky’s \u003cem\u003ePictures  at an Exhibition\u003c\/em\u003e\n    (already reissued on PASC 444).  To conclude our program, we turn to a\n    previously  unpublished live performance.  On the  same Easter Sunday that\n    Marian Anderson’s historic recital on the steps of the  Lincoln Memorial\n    captured the attention of American radio listeners, Ormandy  and his\n    Philadelphians offered a broadcast concert on NBC’s “Magic Key of RCA”\n    program,  concluding with a blazing performance of Rimsky-Korsakov’s\n    \u003cem\u003e\n        Russian Easter  Overture\n    \u003c\/em\u003e\n    , which had to be abridged to fit the one-hour time constraint of  the\n    program.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    The present release is the fifth and  last in a series devoted to Eugene\n    Ormandy’s early recordings with the  Philadelphia Orchestra for the Victor\n    and World’s Greatest Music labels from  1936 through 1942, with one\n    additional Victor recording from 1945.  While the recordings he made during\n    this  period with such legendary soloists as Rachmaninov, Kreisler, Heifetz,\n    Feuermann, Rubinstein, Flagstad, Melchior and others have deservedly\n    remained  in the catalog for decades, this series has focused on his purely\n    orchestral  recordings, which have been rather overlooked in reissues.\n    Among the items included in the present  program, only the Brahms has seen a\n    previous LP reissue, while none of the  recordings have been released on CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    The “World’s Greatest Music” label was  begun by the Publishers Service\n    Company (a distribution arm of the New York \u003cem\u003ePost\u003c\/em\u003e) to market\n    recordings of standard Classical repertoire at  prices which substantially\n    undercut the majors.   Neither the conductors nor the orchestras were named\n    on the labels; but  subsequent research has identified albums recorded by\n    Fritz Reiner and the New  York Philharmonic and Artur Rodziński with the NBC\n    Symphony, among others.  The recordings were made by RCA Victor and  were\n    pressed by them as well, with nothing on the discs or packaging to betray\n    their origins.  The recordings were  phenomenally successful, with\n    \u003cem\u003e\n        Time\n    \u003c\/em\u003e\n    magazine reporting in 1940 that over  one million records in the symphonic\n    series had been sold.\n\u003c\/p\u003e\n\u003cp\u003e\n    In order to keep production costs down,  reduced forces were used for the\n    sessions (here, 49 players for the Bach and  Mozart works, and 74 for the\n    remainder).   The chamber-sized forces work to the advantage of the earlier\n    music,  with the Bach in particular losing the bloated, Romanticized\n    approach of  Stokowski’s 1928 recording of the Second Brandenburg with the\n    same  ensemble.  While no one will confuse  Ormandy’s Bach with an “H.I.P.”\n    reading, the approach here was part of an  interim step (exemplified by the\n    Busch Chamber Players’ 1935 set of the  Brandenburgs) to move past the slow\n    tempi and massive sound that characterized many  orchestral Bach\n    performances up through the early 1930s.  Alone among the standard\n    repertoire “greatest  hits” on this release, the Bach items were never later\n    re-recorded by Ormandy during  his long career.\n\u003c\/p\u003e\n\u003cp\u003e\n    Although he inherited Stokowski’s  orchestra with its lush sound, Ormandy’s\n    conducting idol was Toscanini; and  that connection informs his approach to\n    the Classical and Romantic era works  here.  The Mozart (even with its\n    slight  portamento on the opening phrase, heard also in some Toscanini\n    performances),  Beethoven and Schubert might almost be mistaken for the work\n    of The Maestro,  save for a reluctance to fully press the vehemence of the\n    louder passages,  opting instead for a more rounded, “beautiful” sound.  In\n    some of the recordings (the first movement  of the Beethoven and the\n    Brandenburg Second in particular), the lack of  rehearsal for the sessions\n    can occasionally be heard in slight off-beat  ensemble irregularities,\n    albeit ones from which the orchestra quickly recovers.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Brahms is a particularly successful  interpretation in this series – a\n    glowing, full-hearted reading which finds  Ormandy avoiding the temptation\n    to accelerate toward the ending.  It was re-recorded for release on Victor\n    nine  months later, in a version lavishly spread over twelve sides (as\n    opposed to the  ten for WGM), a reading which was actually a few seconds\n    faster than the one  presented here.  (The later one has been  reissued in\n    Volume Three of this series, PASC 634).  As one might expect, there are no\n    great  differences between the two; yet, oddly, the WGM version was chosen\n    by RCA for  reissue in its Camden LP series (CAL-236), where it was credited\n    to the  “Claridge Symphony Orchestra”, the only such attribution given.\n\u003c\/p\u003e\n\u003cp\u003e\n    Prefacing the WGM releases here is a  Victor recording inadvertently left\n    out of previous volumes in our series.  The arranger, Charles O’Connell, was\n    Victor’s  Red Seal director, and made recordings as a conductor and organist\n    for the  label.  As producer for the Philadelphia  Orchestra’s sessions, he\n    was intimately familiar with Stokowski’s Bach  orchestrations, and was able\n    to replicate his “formula” of introducing various  orchestral choirs in\n    succession very closely in the excerpt from the\n    \u003cem\u003e\n        St.  Matthew Passion\n    \u003c\/em\u003e\n    presented here.   O’Connell also persuaded other conductors to record his\n    transcriptions,  including Monteux and Stokowski himself.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark  Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\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\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\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\n\u003cp\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\n\u003cp\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\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\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\u003cbr\u003e\u003c\/p\u003e\n\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\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 16:00 \u003c\/b\u003e\u003cbr\u003eCD1: 66:34 CD2: 69:26\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 2\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\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1 (63:16)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n        TELEMANN \n        \n            Suite in A minor for Flute and Strings, TWV 55:a2\u003c\/strong\u003e\u003cbr\u003e1. I Ouverture (4:50)\u003cbr\u003e2. II Les plaisirs (2:02)\u003cbr\u003e3. III Air à L’Italienne (4:04)\u003cbr\u003e4. IV Menuet [II] (2:13)\u003cbr\u003e5. VI Passepied I \u0026amp; II (1:07)\u003cbr\u003e6. VII Polonaise (2:19)\u003cbr\u003e7. V Réjouissance (1:33)\u003cstrong\u003e\u003cbr\u003eWilliam Kincaid ∙ \u003cem\u003eflute\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062546-1, 062547-2A, 062548-1A \u0026amp;\n    062549-1 ∙ First issued on Victor 11-8120\/2 in album M-890\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMOZART\n        \n            Divertimento No. 10 in F major for Strings and 2 Horns, K.247\u003c\/strong\u003e\u003cbr\u003e8. 1st Mvt. - Allegro (5:52)\u003cbr\u003e9. 2nd Mvt. - Andante grazioso (5:26)\u003cbr\u003e10. 3rd Mvt. - Menuetto \u0026amp; Trio (3:12)\u003cbr\u003e11. 4th Mvt. - Andante - Allegro assai (4:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 April 1938 ∙ Matrices: BS 022328\/31 \u0026amp; CS 022332\/3 (all Take\n    1) ∙ First issued on Victor 2014\/5 \u0026amp; 15639 in album M-603\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 1 in C major, Op. 21\u003c\/strong\u003e\u003cbr\u003e12. 1st Mvt. - Adagio molto - Allegro con brio (9:35)\u003cbr\u003e13. 2nd Mvt. - Andante cantabile con moto (7:12)\u003cbr\u003e14. 3rd Mvt. - Menuetto: Allegro molto e vivace (3:29)\u003cbr\u003e15. 4th Mvt. - Adagio - Allegro molto e vivace (5:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: CS 03194\/9 \u0026amp; 04000\/1 (all Take 1) ∙\n    First issued on Victor 14691\/4 in album M-409\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (68:48)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSIBELIUS Finlandia, Op. 26 \u003c\/strong\u003e(7:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047821-2 \u0026amp; 047822-2 ∙ First\n    issued on Victor 17701 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2.\n    \u003cstrong\u003e\n        SIBELIUS The Swan of Tuonela (No. 2 of Lemminkäinen Suite, Op. 22)\n    \u003c\/strong\u003e\n    (8:30)\u003cstrong\u003e\u003cbr\u003eJohn Minsker ∙ \u003cem\u003eEnglish horn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\n    issued on Victor 17702 in album M-750\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3.\n    \u003cstrong\u003e\nSIBELIUS         Lemminkäinen’s Return (No. 4 of Lemminkäinen\n        Suite, Op. 22)\n    \u003c\/strong\u003e\n    (5:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\n    issued on Victor 17702 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSIBELIUS Symphony         No. 1 in E minor, Op. 39\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt. - Andante, ma non troppo - Allegro energico (9:40)\u003cbr\u003e5. 2nd Mvt. - Andante (ma non troppo lento) (9:26)\u003cbr\u003e6. 3rd Mvt. - Scherzo: Allegro (4:46)\u003cbr\u003e7. 4th Mvt. - Finale (Quasi una fantasia) (12:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071200-2A, 071201-1, 071202-1,\n    071203-1, 071204-1, 071205-1, 071206-1 \u0026amp; 071207-1 ∙ First issued on\n    Victor 18499\/502 in album M-881\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8. \n  \n        \u003cstrong\u003eENESCU Romanian Rhapsody No. 1, Op. 11\u003c\/strong\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n    (10:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 066735-1 \u0026amp; 066736-2A ∙ First\n    issued on Victor 18201 in album M-830\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\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\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 12:05\u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 63:16   CD2: 68:48    \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 3\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\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e (Act 3)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. Dance of the Apprentices (2:59)\u003cbr\u003e2. Entrance of the Mastersingers (3:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: BS 03192-2 \u0026amp; 03193-1 ∙ First issued\n    on Victor 1807\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eBRAHMS Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/strong\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. – Allegro non troppo (14:01)\u003cbr\u003e4. 2nd Mvt. – Adagio non troppo (10:38)\u003cbr\u003e5. 3rd Mvt. – Allegretto grazioso (5:29)\u003cbr\u003e6. 4th Mvt. – Allegro con spirito (9:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1939 and *27 March 1940 ∙ Matrices: CS 045653-1,\n    045654-1, 045655-1, 045656-2, 045657-1, 045658-1. 045659-1, *045660-3,\n    045661-2, 045662-2, 045663-1 \u0026amp; 045664-1 ∙ First issued on Victor\n    17302\/7 in album M-694\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7.\n    \n        \u003cstrong\u003e\n\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Wiener Blut (Vienna Blood) - Waltz, Op. 354\u003c\/span\u003e\n\u003c\/strong\u003e\n    \n    (5:02)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062561-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Frühlingsstimmen (Voices of Spring) - Waltz Op. 410\u003c\/span\u003e\n\u003c\/strong\u003e\n    (5:00)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062560-1 ∙ First issued on Victor\n    18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e9. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Kaiser-Walzer (Emperor Waltz), Op. 437\u003c\/span\u003e \u003c\/strong\u003e\n    (10:04)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 062562-3 \u0026amp; 062563-4A ∙ First\n    issued on Victor 18220\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH Symphony “Mathis der Maler”\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Engelkonzert (Ruhig bewegt) (7:35)\u003cbr\u003e2. 2nd Mvt. – Grablegung (Sehr langsam) (4:08)\u003cbr\u003e3. 3rd Mvt. – Versuchung des heiligen Antonius (Sehr langsam frei im\n    Zeitmaß – Sehr lebhaft) (11:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056578-1, 056579-1A, 056580-1,\n    056581-1A, 056582-1A \u0026amp; 056583-1 ∙ First issued on Victor 18333\/5 in\n    album M-854\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Waltzes from Der Rosenkavalier\u003c\/span\u003e \u003c\/strong\u003e(10:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071208-1 \u0026amp; 071209-1A ∙ First\n    issued on Victor 18390\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Symphonia Domestica, Op. 53\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thema I (Bewegt) (0:56)\u003cbr\u003e6. Thema II (Sehr lebhaft) (2:05)\u003cbr\u003e7. Thema III (Ruhig) (1:45)\u003cbr\u003e8. Scherzo (Munter) (5:54)\u003cbr\u003e9. Mässig langsam (Wiegenlied) (5:33)\u003cbr\u003e10. Adagio (Langsam) (10:57)\u003cbr\u003e11. Finale (Sehr lebhaft) (12:29)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 9 May 1938 ∙ Matrices: CS 022364-3, 022365-3, 022366-3, 022367-1,\n    022368-1, 022369-3, 022370-3, 022371-3, 022372-2A \u0026amp; 022373-1 ∙ First\n    issued on Victor 15225\/9 in album M-520\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Producer and Audio Restoration Engineer: Mark Obert-Thorn\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Special thanks to Nathan Brown, Richard Kaplan and Charles Niss for\n        providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 19:12   \u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 65:44     CD2: 73:28    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 1\n        (66:10)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  The Nutcracker - Suite, Op. 71a\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e1. Miniature Overture (3:30)\u003cbr\u003e2. March (2:14)\u003cbr\u003e3. Dance of the Sugar-Plum Fairy (1:44)\u003cbr\u003e4. Russian Dance (1:07)\u003cbr\u003e5. Arabian Dance (3:46)\u003cbr\u003e6. Chinese Dance (1:07)\u003cbr\u003e7. Dance of the Flutes (2:06)\u003cbr\u003e8. Waltz of the Flowers (6:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1945 ∙ Matrices: D5-RC-643\/8 ∙ First  issued on RCA\n    Victor 11-8912\/4 in album M-1020\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY Symphony No. 5\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    in E minor, Op. 64\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e9.           1st  Mvt. -\n    \n        Andante - Allegro con anima\n    \n    (13:24)\u003cbr\u003e10.        2nd Mvt. -\n    \n        Andante cantabile,  con alcuna licenza\n    \n    (13:09)\u003cbr\u003e11.        3rd  Mvt. - Valse: Allegro moderato\n    (5:59)\u003cbr\u003e12.        4th  Mvt. -\n    \n        Andante maestoso - Allegro vivace\n    \n    (11:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062550-1, 062551-1A,  062552-1A,\n    062553-2, 062554-1A, 062555-1A, 062556-1A, 062557-1A, 062558-1A  \u0026amp;\n    062559-1A ∙ First issued on Victor 18177\/81 in album M-828\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003eCD 2\n        (55:24)\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\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY  Symphony No. 6 in B minor, Op. 74, “Path\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eé\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003etique”\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e1.           1st  Mvt. -\n    \n        Adagio - Allegro non troppo\n    \n    (16:20)\u003cbr\u003e2.           2nd  Mvt. - Allegro con grazia (7:41)\u003cbr\u003e3.           3rd  Mvt. - Allegro molto vivace\n    (8:20)\u003cbr\u003e4.           4th  Mvt. - Finale: Adagio lamentoso\n    (8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 and *9 January 1937 ∙ Matrices: CS  03131-4A*,\n    03132-1, 03133-1, 03134-1, 03135-2, 03136-1, 03137-1, 03138-1,  03139-1\n    \u0026amp; 03140-2* ∙ First issued on Victor 14264\/8 in album M-337\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    5.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV (arr. Ormandy)  Church Scene from\n        \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n            Christmas Eve\u003c\/span\u003e\n\u003c\/em\u003e\n\u003c\/strong\u003e\n\u003cstrong\u003e\u003c\/strong\u003e(3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 December 1941 ∙ Matrices: CS 071291-1 ∙ Previously  unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e6.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV Russian  Easter Overture, Op. 36\u003c\/span\u003e\u003c\/strong\u003e\n\u003cem\u003e(abridged)\u003c\/em\u003e (10:41) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eAnnouncer:   Milton Cross\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the NBC “Magic Key of RCA” broadcast of 9 April 1939\n    \n    · Previously unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eEugene  Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown, Frederick P. Fellers, Richard Kaplan and\n    Charles Niss  for providing source material\u003cbr\u003eAll  recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\n        (79:45)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eJ. S.\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eBACH (arr. O’Connell):\n    “Herzliebster Jesu” from \u003cem\u003eSt. Matthew  Passion\u003c\/em\u003e, BWV 244\u003c\/strong\u003e (3:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 March 1940 ∙ Matrix: CS 047825-1 ∙ First issued  on Victor 18166\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. S. BACH:   Brandenburg Concerto No. 2 in F major, BWV 1047\u003cbr\u003e\u003c\/strong\u003e2.           1st  Mvt. – [Allegro] (4:47)\u003cbr\u003e3.           2nd  Mvt. – Andante (4:39)\u003cbr\u003e4.           3rd  Mvt. – Allegro assai (2:49)\u003cbr\u003e\u003cstrong\u003eAlexander  Hilsberg, \u003c\/strong\u003e\u003cem\u003esolo violin\u003c\/em\u003e\u003cstrong\u003e; Saul\n    Caston,\u003c\/strong\u003e\u003cem\u003e solo trumpet\u003c\/em\u003e\u003cstrong\u003e; William Kincaid,\u003c\/strong\u003e\u003cem\u003e solo \n    flute\u003c\/em\u003e\u003cstrong\u003e; Marcel  Tabuteau,\u003c\/strong\u003e\u003cem\u003e solo oboe\u003c\/em\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028831-2, 028832-1  \u0026amp; 028833-1\n    ∙ First issued on World’s Greatest Music SR-14\/15\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. S. BACH:   Brandenburg Concerto No. 3 in G major, BWV 1048\u003cbr\u003e\u003c\/strong\u003e5.           1st  Mvt. – [Allegro] (6:24)\u003cbr\u003e6.           3rd  Mvt. – Allegro (3:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028840-1, 028841-1  \u0026amp; 028842-1\n    ∙ First issued on World’s Greatest Music SR-15\/16\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMOZART  Symphony No. 40 in G minor, K.550\u003cbr\u003e\u003c\/strong\u003e7.           1st  Mvt. – Molto allegro (7:13)\u003cbr\u003e8.           2nd  Mvt. – Andante (7:49)\u003cbr\u003e9.           3rd  Mvt. – Menuetto.  Allegro – Trio (4:00)\u003cbr\u003e10.        4th  Mvt. – Finale.  Allegro assai (4:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028834-1, 028835-1,  028836-1,\n    028837-1, 028838-1 \u0026amp; 028839-1 ∙ First issued on World’s Greatest  Music\n    SR-8\/10\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN  Symphony No. 5 in C minor, Op. 67\u003cbr\u003e\u003c\/strong\u003e11.        1st  Mvt. – Allegro con brio (7:39)\u003cbr\u003e12.        2nd  Mvt. – Andante con moto (9:45)\u003cbr\u003e13.        3rd  Mvt. – Scherzo:  Allegro (5:07)\u003cbr\u003e14.        4th  Mvt. – Allegro – Presto (8:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027814-2, 027815-1,  027816-1,\n    027817-1, 027818-1, 027819-1, 027820-1 \u0026amp; 027821-1 ∙ First issued  on\n    World’s Greatest Music SR-4\/7\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 2\n        (61:39)\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\u003cstrong\u003eSCHUBERT  Symphony No. 8 in B minor, D.759 “Unfinished”\u003cbr\u003e\u003c\/strong\u003e1.           1st  Mvt. –Allegro moderato (10:50)\u003cbr\u003e2.           2nd  Mvt. – Andante con moto (11:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027808-2, 027809-1,  027810-1,\n    027811-1, 027812-1 \u0026amp; 027813-1 ∙ First issued on World’s Greatest  Music\n    SR-1\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBRAHMS  Symphony No. 2 in D major, Op. 73\u003cbr\u003e\u003c\/strong\u003e3.           1st  Mvt. – Allegro non troppo (14:31)\u003cbr\u003e4.           2nd  Mvt. – Adagio non troppo (9:53)\u003cbr\u003e5.           3rd  Mvt. – Allegretto grazioso (quasi andantino) (5:38)\u003cbr\u003e6.           4th  Mvt. – Allegro con spirito (9:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 March 1939 ∙ Matrices: CS 035400-1, 035401-2, 035402-1,\n    035403-2, 035404-2A, 035405-1, 035406-2, 035407-1, 035408-1 \u0026amp; 035409-1 ∙\n    First issued on World’s Greatest Music SR-28\/32\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\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\u003eProducer  and Audio Restoration Engineer:  Mark  Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll  recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTotal duration: 2hr 21:24\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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(+MP3)","offer_id":49566551376206,"sku":null,"price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC726_4374e2e6-510a-4970-bade-03cdab4f0a70.jpg?v=1729177521"},{"product_id":"pasc755","title":"BEECHAM The Complete Acoustics (1910-1918) - PASC755","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetite Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eOFFENBACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTales of Hoffman\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Firebird - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6 \"Pathétique\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eand many more\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1910-1918\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 32:36 (CD) or 2hr 39:21 (download)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBeecham Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAn important set – for the academic578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis Pristine issue takes us to a much earlier period of recording history than is usual for this label. Over recent years, their issues have tended to get more and more recent, partly as more recordings come out of copyright and so are available to use, and partly because the rediscovery of previously-unknown live performances from earlier times becomes increasingly rare. The present issue is the first ever complete edition of Beecham’s published acoustic recordings; a glance at Michael Gray’s Centenary Discography of the conductor shows what a large number of other sides were never published. There have, of course, been a huge number of Beecham re-issues, especially since the introduction of the CD, but these have almost completely avoided his acoustics, for entirely understandable reasons. But one of the particular interests of this set is the number of pieces of which these acoustics are his only recordings. Most of these are comparatively trivial losses (I doubt that many people are devastated at the lack of an electrical recording of Missa’s Muguette Entr’acte), but there are a couple of real surprises. I was astonished to discover that the two cut movements from Tchaikovsky’s Pathétique on this set are the only commercial recordings he ever made of this warhorse. How on earth can he never have recorded this piece complete? Was it, like the odd-numbered Beethoven symphonies, simply “not his thing”? Perhaps less surprising is that the two sides of fragments from the Firebird Suite are his only recordings of anything by Stravinsky, though it must not be forgotten that in the early part of his career he was famous for his championship of avant garde pieces such as Strauss’s Salome and Elektra . From the evidence of these fragments, he would have given a superb performance of the complete Firebird .\u003c\/p\u003e\u003cp\u003eFor antiquarians like myself, it is especially fascinating to have his complete pre-Columbia recordings. The six Odeon sides are exceptionally rare (I don’t recall ever having seen one in my sixty years of collecting), though the HMVs are somewhat more common. The majority of his first recording session are of excerpts from Offenbach’s Tales of Hoffmann , a run of which he had conducted at His Majesty’s Theatre from May 12 th 1910 (the opening had to be delayed from the 9 th because of the death of Edward VII). These are fine performances; Caroline Hatchard gives a very good performance of the Doll Song with excellent coloratura and trills, though her diction is surprisingly poor for a singer of this period. Beecham allows her considerable tempo fluidity and the chorus comes over surprisingly well. Walter Hyde (a tenor I’m very fond of) sings the Kleinsack aria, which starts off at a speed which makes articulation of the text almost impossible. Whether this was Beecham’s over-excitement, or the necessity to get the aria onto one side, is impossible to know, but fortunately the tempo becomes more relaxed later on, allowing Hyde to characterise the piece very well. His “When love is but tender” is similarly well-characterised with some splendid high notes. The “Drig, drig” chorus is, of course, no match for any modern chorus (choral singing of all kinds has improved beyond recognition during the last 50 years), but it is at least not of the toe-curlingly appalling standard that most acoustic-period choruses are, and the short solo passage is very effectively done. The Fledermaus Overture is a very fine performance (and another surprising only recording of the piece by Beecham) with very crisp playing from the strings (I wonder if Albert Sammons is leading the violins here), though the entirely vibrato-free woodwind are rather a trial to my ears. The performance has real panache and the recording is remarkably vivid for its date.\u003c\/p\u003e\u003cp\u003eThe Odeons begin with final Allegro vivace of Rossini’s William Tell Overture in a very vigorous and exciting performance – exactly as one would expect from this conductor. The string paying is remarkably fine. The cut Figaro Overture is very lively and quite a modern performance, as is the Oberon Overture (shorn of its introduction). The other pieces are unremarkable.\u003c\/p\u003e\u003cp\u003eWe now come to the extensive Columbia series. I intend to be selective in my comments here or this review would be the length of War and Peace . Entirely appropriately for one of the greatest of Mozart conductors, it begins with an uncut Magic Flute Overture, recorded over two sides. The introduction is quite restrained with much less portamento than might have been expected, and the allegro is not turned into a virtuoso showpiece, as it can be today – very satisfying. The Polovtsian Dances are unremarkable, as is the gavotte from Massenet’s Manon . More unexpectedly so are the Waltzes from Rosenkavalier . Beecham had given the first UK performance of the opera in 1913, but here they come over as very strait-laced and lacking any Viennese lilt or rubato. The two cut movements from Tchaikovsky’s Pathétique come next. In the Allegro con grazia we find again that the Beecham of this period did not seem to possess the lightness of touch or grace which he had later, and it is really quite a stolid performance with little contrast between the sections. The March is much better, with real excitement, and, interestingly, no slowing down for the final statement of the tune. The final track on CD1 is the thirdthird4 movement of Rimsky-Korsakov’s Antar , a work which I did not know at all. It seems to be another lively and convincing performance with a nice contrast between the risoluto first section and the lyrical middle one. The orchestral playing is again very fine.\u003c\/p\u003e\u003cp\u003eThe second CD begins the most historically interesting track: the Firebird excerpts. These are not only Beecham’s only Stravinsky recording but almost certainly the first recording of any of that composer’s music. The “Dance of the Firebird” is perhaps not as snappy and tightly articulated as a performance of today, but it is very far from sloppy, and the start has a really menacing atmosphere. The sharp fortissimo chords come over with remarkable effect, and the technical quality of the playing if astonishingly good for what must have been very strange, even incomprehensible, music to many members of the orchestra. It is certainly far better than that of the French orchestra which Stravinsky himself conducted in his 1928 recording of the suite. The Mendelssohn and Mozart which follow are rather heavy-handed, though the horn playing is adept. The Barber of Seville Overture has plenty of “go”, and more portamento than other recordings in this set had led me to expect. Berlioz’s Carnival Romain overture (or, more precisely the second half of it – all of it was recorded, but only side 2 issued. This sort of thing happened remarkably often during the gramophone’s first quarter century). It has particularly heavy surface noise, and the performance doesn’t even come close to Beecham’s 1936 recording. A second recording of the Figaro Overture follows which is a tad slower that the Odeon one, but better articulated. The slow introduction to the complete Oberon Overture recording does not have the extraordinary poetry and sensitivity of the more-or-less contemporary Nikisch recording, but is still very fine, and the allegro is a cracking performance which is more exciting than that of Nikisch. Beecham gets really crisp playing from the orchestra here and the central section is beautiful lyrical. There is considerably more rubato in the final section than we would expect today.\u003c\/p\u003e\u003cp\u003eThe only vocal recording in the Columbias is of Edward German’s setting of Kipling’s “Have you news of my boy Jack?”. I really want this piece to be a moving memento of the Great War’s effect on those left in Britain (Kipling’s poem was written after the death of the son whom he had virtually forced to sign up, and who was killed three weeks after being sent to France), but I’m afraid German’s music is utterly inadequate to it, and not even Clara Butt’s wonderful story-telling genius can save it. The minuet from Bizet’s Jolie Fille de Perth is another that suffers from the square playing and the flat-footed, vibrato-less flautist. He uses some rubato, but very little phrasing and virtually no dynamic shading. The final tracks are two movements from Büsser’s orchestration of Debussy’s Petite Suite , recorded in 1918. The final “Ballet” is a lively and exhilarating end to the CD, but the preceding “En bateau” brings to my mind a comment which Felix Aprahamian made in a television documentary which the BBC broadcast in 1979 to mark the centenary of Beecham’s birth. He said “He was a conductor entirely without eroticism” – and this immediately crystalised for me exactly why it was that I could never rave over his recordings of Richard Strauss, as so many others could. There is exactly this lack of sensuality in “En bateau”.\u003c\/p\u003e\u003cp\u003eI need now to come to the technical side of this issue. Making acoustic orchestral recordings sound acceptable to today’s ears is a very difficult task. I wonder what the future (which is possibly quite close, given the astonishing speed of development over the last five years) may bring with AI. Will this technology be able to extrapolate the frequencies missing on early recordings and “put them back in”? If it could, it would be a real game changer for historical recordings. I have always been highly impressed and complimentary about the transfers by Mark Obert-Thorn which have been issued on Pristine, but this issue has been a considerable, and surprising, disappointment. The problem is the very intrusive high frequency surface noise on pretty-well every track, which even I, who have been acclimatised to crackly old 78s of acoustic recordings for decades, found extremely distracting and wearying. All the recordings in this set would have been originally issued before Columbia made a huge leap forward in terms of its pressings. The pressings during and immediately after WW1 were extremely noisy, but in about 1921 the company adopted laminated pressings, which became formalised in 1923 as the “No Noise” process. These pressings really were of exceptional quality and quietness. These laminated pressings were standard until the merger with HMV (the Gramophone Company) to form EMI on 1931. The Gramophone Co. considered itself to be the dominant partner, and simply insisted that Columbia changed many of its practices to those of HMV, including its pressing methods. This was the most terrible arrogance, as British HMV pressings from 1926 to the mid-1930s were probably the worst of any important company in the world and are notorious among collectors.\u003c\/p\u003e\u003cp\u003eThe reason I have gone into all this is that all of these Beecham recordings were first issued on old-style, noisy pressings. However, I have looked up the deletion dates of all these recordings: Oberon (L1104) was deleted in 1922, and the Clara Butt side (7245) in 1924, but every one of the others was still available until at least 1926, and many, including the Stravinsky, until 1928\/9. This means that the new almost-silent pressings were issued for all but three of the sides. In my own collection I have copies of seven of these discs (i.e.14 sides) – four in the earlier noisy pressings and three in the later quiet pressings. I have just played all three of my laminated pressings to make sure that I was not exaggerating their qualities. Obviously I cannot know what sort of pressings Mark Obert-Thorn used, but I cannot believe that, for example CD1 tr. 20 (Antar) was other than an early, noisy pressing. Transferring 78s is, of course, a process where the taste of the engineer plays a very important part in the way that the transfer sounds. Transfer engineers can range from those who simply play the 78s with minimal equalisation and no filtering to give a sound which is, in effect, exactly that of a simple copy of the sound of that particular copy of record (these is a Japanese company whose name, I’m afraid, escapes me who takes this route). The other extreme is where all the computer technology now available (pitch stabilisation, de-clicking, re-equalisation, Cedar, etc) is applied. This can make a wonderful difference , but runs the risk of making the sound over-manipulated – for example, I have recently reviewed CDs from the Dutch Mengelberg Society where any moments of silence in the music have been so filtered that this silence has become an anechoic chamber deadness which is utterly unnatural and very disconcerting ( review ). I have almost always been very happy with Mark Obert-Thorn’s approach in the past, but this time he seems to me to have fallen on the wrong side of the fence. On the positive side, he has greatly enhanced the sense of immediately and presence of the instruments (they leap out much more vividly and naturally than in a straight playing of the 78), but the resultant increase in surface noise has been, for me, too high a price to pay. As I said, this is very much a matter of personal taste, and you may find that the results are well within your tolerance threshold, but it might be worth trying to sample the contents first, though unfortunately the Pristine website does not seem to allow this.\u003c\/p\u003e\u003cp\u003eWhile this is an important set for its academic interest, regretfully I think that it can only really be seen as being of archaeological interest to performance practice nerds like myself. Few general listeners will be able to put up with the sound quality, or find anything of exceptional musical value (as opposed to historical interest) in the performances.\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Steinson\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eMusicWeb International\u003c\/i\u003e, April 2026\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC755.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n   \n        This release brings together all of the acoustic recordings of Sir\n        Thomas Beecham, which were omitted from the Warner Classics Beecham\n        “Mono Era” CD box. They shed an invaluable light on the conductor’s\n        activities in London during the 1910s, and feature 16 works that Beecham\n        never re-recorded during his long career. They are presented here in\n        matrix number order, based on the discography published by Michael Gray\n        in 1979 for the conductor’s centenary.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    When the 31-year-old Beecham entered the Gramophone Company’s London studios\n    in July, 1910, he had already been conducting for eleven years, most\n    recently with the ensemble he had founded the previous year, the Beecham\n    Symphony Orchestra, whose ranks included such future luminaries as Albert\n    Sammons, Lionel Tertis and Eric Coates. That summer, he was heavily involved\n    with operatic productions held at His Majesty’s Theatre featuring his own\n    Beecham Opera Company. Both \u003cem\u003eTales of Hoffmann\u003c\/em\u003e and\n    \u003cem\u003e\n        Die Fledermaus\n    \u003c\/em\u003e\n    were given during this season.\n\u003c\/p\u003e\n\u003cp\u003e\n    Another session held a month later produced a recording whose attribution is\n    somewhat controversial. On 31 August, a symphonic band recorded several\n    titles for the Gramophone Company. Their matrix book identified the ensemble\n    as the Black Diamonds Band, a group which recorded prolifically for the\n    label, making recordings “for the Berlin branch”. They were released in\n    Germany credited to the “Grammophon-Orchester”, which Gray described as “an\n    all-purpose name used for orchestral recordings made outside Germany.”\n\u003c\/p\u003e\n\u003cp\u003e\n    One of the titles, however  - a potpourri of tunes from Eugen d’Albert’s\n    opera, \u003cem\u003eTiefland\u003c\/em\u003e - was released in England credited to the Beecham\n    Symphony Orchestra. Because Beecham was at the time preparing for the\n    British première of the opera at Covent Garden, the attribution was accepted\n    in Gray’s discography and reflected in some reissues of his early\n    recordings. However, because several of the other titles made at the session\n    were of non-Classical repertoire that Beecham would not have conducted, it\n    seems likely that this was a misattribution by the Gramophone Company,\n    perhaps an intentional one to link the record with Beecham’s production. (A\n    similar potpourri from Verdi’s \u003cem\u003eNabucco\u003c\/em\u003e, recorded directly after the\n    \u003cem\u003eTiefland\u003c\/em\u003e sides but credited only to the Grammophon-Orchester, is\n    included in the download version of this release.)\n\u003c\/p\u003e\n\u003cp\u003e\n    The next group of recordings was made around two years later for the Odeon\n    label, whose recordings were as crude sounding as their pressings were\n    noisy, but whose rarity make them highly sought after by collectors. One can\n    hear the increasingly tight ensemble work of Beecham’s orchestra, far above\n    the average level of playing for London orchestras of the time, in such\n    works as the \u003cem\u003eWilliam Tell\u003c\/em\u003e Overture.\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1915, Beecham signed with Columbia, the label for which he would make\n    most of his recordings for the next couple decades. In contrast with other\n    labels, Columbia for the most part did not reorchestrate to make recordings\n    “register” more impactfully using the acoustic process. Timpani are clearly\n    heard in the “Polovtsian Dances”, and double basses in the\n    \u003cem\u003e\n        Bartered Bride\n    \u003c\/em\u003e\n    Overture are discernable, if just barely. However, the bass drum is omitted\n    from the \u003cem\u003eDamnation of Faust\u003c\/em\u003e’s “Hungarian March”.\n\u003c\/p\u003e\n\u003cp\u003e\n    Additionally, Columbia allowed relatively complete recordings of some\n    overtures to be made. Beecham’s first Columbia disc, the\n    \u003cem\u003e\n        Magic Flute\n    \u003c\/em\u003e\n    Overture, is uncut; and their \u003cem\u003eOberon\u003c\/em\u003e Overture, despite some\n    internal cuts, was still allotted two sides. (The \u003cem\u003eRoman Carnival\u003c\/em\u003e\n    Overture was apparently recorded complete as well, but only the second side\n    was issued.)\n\u003c\/p\u003e\n\u003cp\u003e\n    These recordings again reflect some of Beecham’s recent productions. The\n    conductor had given the British première of \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e in\n    1913; but the selection of waltzes heard on the Columbia disc is not the\n    familiar Otto Singer arrangement. That same year, Beecham produced a series\n    of Russian ballets at the Drury Lane Theatre featuring Nijinsky among\n    others. The excerpts from the first version of the \u003cem\u003eFirebird\u003c\/em\u003e Suite\n    made three years later appear to be the earliest recording of any Stravinsky\n    work, as well as Beecham’s only representation of the composer on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBEECHAM \u003c\/b\u003eThe Complete Acoustics\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        CD 1\n        (78:46)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        \u003cstrong\u003e\u003cu\u003e\u003cspan style=\"font-size: 20px;\"\u003eGRAMOPHONE COMPANY RECORDINGS (1910)\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cu\u003e\u003c\/u\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n   \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eOFFENBACH \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eTales of Hoffmann\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    1.         The Doll’s Song \u003cstrong\u003e\u003c\/strong\u003e(3:12)\u003cbr\u003e\u003cb\u003eCaroline Hatchard\u003c\/b\u003e (soprano) and \u003cb\u003eBeecham Opera Chorus\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 July 1910 ∙ Matrix: 4340f ∙ First issued on Gramophone\n        Concert Record 03193\n   \n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2.         Legend of Kleinsack \u003cstrong\u003e\u003c\/strong\u003e(3:53)\u003cbr\u003e\u003cb\u003eWalter Hyde\u003c\/b\u003e (tenor)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 July 1910 ∙ Matrix: 4341f ∙ First issued on Gramophone\n        Concert Record 02256\n   \n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e3.         Drig, drig, drig\u003cstrong\u003e\u003c\/strong\u003e (2:50)\u003cbr\u003e\u003cb\u003eBeecham Opera Chorus\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 July 1910 ∙ Matrix: 4347f ∙ First issued on Gramophone\n        Concert Record 04505\n \n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e4. When love is but tender and sweet\u003cstrong\u003e\u003c\/strong\u003e (2:34)\u003cbr\u003e\u003cb\u003eWalter Hyde\u003c\/b\u003e (tenor) and \u003cb\u003eBeecham Opera Chorus\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 July 1910 ∙ Matrix: 4353f ∙ First issued on Gramophone\n        Concert Record 02257\n   \n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e5. \u003cstrong\u003eJ. STRAUSS II \u003cem\u003eDie Fledermaus\u003c\/em\u003e - Overture*\u003c\/strong\u003e (3:51)\u003cbr\u003eR\u003cspan style=\"font-size: 12px;\"\u003eecorded 28 July 1910 ∙ Matrix: 4360f (later 381 ac) ∙ First issued on\n        Gramophone Concert Record 0627\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    6. \u003cstrong\u003eD’ALBERT \u003cem\u003eTiefland\u003c\/em\u003e - Selections**\u003c\/strong\u003e (8:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 August 1910 ∙ Matrices: 4423\/4f ∙ First issued on Gramophone\n        Concert Record 0629\/30\n    \n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cu\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eODEON RECORDINGS (c.1912)\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    7. \u003cstrong\u003eROSSINI \u003cem\u003eWilliam Tell\u003c\/em\u003e Overture  - March\u003c\/strong\u003e (2:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1912 ∙ Matrix: Lxg 30 ∙ First issued on Odeon 0795\n   \n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e8. \u003cstrong\u003eMISSA \u003cem\u003eMuguette\u003c\/em\u003e - Entr’acte** \u003c\/strong\u003e(3:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1912 ∙ Matrix: Lxg 39 ∙ First issued on Odeon 0795\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    9. \u003cstrong\u003eMASCAGNI \u003cem\u003eCavalleria Rusticana\u003c\/em\u003e -\n    Intermezzo* \u003c\/strong\u003e(3:02)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1912 ∙ Matrix: Lxg 40 ∙ First issued on Odeon 0772\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    10.  \u003cstrong\u003e\n        MENDELSSOHN The Bees’ Wedding (Songs Without Words, No. 34)*  \u003c\/strong\u003e\n    (1:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1912 ∙ Matrix: Lxg 41 ∙ First issued on Odeon 0772\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    11.\n    \u003cstrong\u003e\n        MOZART \u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e, K.492\u003cem\u003e-\u003c\/em\u003eOverture  \u003c\/strong\u003e\n    (3:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1912 ∙ Matrix: Lxx 3677 ∙ First issued on Odeon X-84\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    12. \u003cstrong\u003eWEBER \u003cem\u003eOberon\u003c\/em\u003e Overture\u003c\/strong\u003e(3:58)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.1912 ∙ Matrix: Lxx 3678 ∙ First issued on Odeon X-84\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cu\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003eCOLUMBIA GRAPHOPHONE RECORDINGS (1915 - 1918)\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cu\u003e\u003c\/u\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    13. \u003cstrong\u003eMOZART \u003cem\u003eDie Zauberfl\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eö\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003ete\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e, \n    K.620\u003cem\u003e-\u003c\/em\u003eOverture\u003c\/strong\u003e (6:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1915 ∙ Matrices: 6559-2 \u0026amp; 6560-2 ∙ First issued on Columbia\n        L 1001\n  \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    14. \u003cstrong\u003eBORODIN \u003cem\u003ePrince Igor\u003c\/em\u003e - Polovtsian Dances\u003c\/strong\u003e (6:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1915 ∙ Matrices: 6561-2 \u0026amp; 6562\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e-\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e1 \n    ∙ First issued on Columbia L 1002\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    15. \u003cstrong\u003eMASSENET \u003cem\u003eManon\u003c\/em\u003e - Minuet* \u003c\/strong\u003e(2:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1915 ∙ Matrix: 6563-1 ∙ First issued on Columbia L 1020\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    16. \u003cstrong\u003eR. STRAUSS \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e - Waltzes*\u003c\/strong\u003e (4:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1915 ∙ Matrix: 6564-2 ∙ First issued on Columbia L 1020\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eBORODIN \u003cem\u003ePrince Igor\u003c\/em\u003e - Polovtsian March\u003c\/strong\u003e (4:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1915 ∙ Matrix: 6601-1 ∙ First issued on Columbia L 1011\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n   \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY Symphony No. 6 in B minor, Op. 74, “Path\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eé\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003etique”*\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e18.       2nd Mvt.: Allegro con grazia (3:57)\u003cbr\u003e19.       3rd Mvt.: Allegro molto vivace (3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1915 ∙ Matrices: 6602-1 \u0026amp; 6603-1 ∙ First issued on Columbia\n        L 1016\n \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n  \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eAntar\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Symphonic Suite, Op. 9\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e20.       3rd Mvt.: Allegro risoluto alla marcia (4:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1915 ∙ Matrix: 6604-1 ∙ First issued on Columbia L 1011\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eCD 2\n        (73:49)\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    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\n    \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n        The Firebird\n    \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    -\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSuite (1911 Version)  - excerpts**\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e1.         Dance of the Firebird (1:07)\u003cbr\u003e2.         The Princess’ Game with Golden Apples (2:28)\u003cbr\u003e3.         Infernal Dance of All of Koschei’s Subjects (3:45)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.May 1916 ∙ Matrices: 6797-1 \u0026amp; 6799-1 ∙ First issued on\n        Columbia L 1040\u003c\/span\u003e\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    4.\n    \u003cstrong\u003e\n        MENDELSSOHN \u003cem\u003eA Midsummer Night’s Dream,\u003c\/em\u003eOp. 61  - Scherzo  \u003c\/strong\u003e\n    (3:55)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c.May 1916 ∙ Matrix: 6800-2 ∙ First issued on Columbia L 1075\n \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    5. \u003cstrong\u003eMOZART Divertimento in D major, K.131  - Minuet\u003c\/strong\u003e (3:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6904-1 ∙ First issued on Columbia L 1132\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    6. \u003cstrong\u003eROSSINI \u003cem\u003eThe Barber of Seville\u003c\/em\u003e - Overture*\u003c\/strong\u003e (4:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6905-1 or -2 ∙ First issued on Columbia L 1075\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    7. \u003cstrong\u003eBERLIOZ \u003cem\u003eRoman Carnival\u003c\/em\u003e Overture, Op. 9\u003c\/strong\u003e (3:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6907-1 ∙ First issued on Columbia L 1105\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n        MOZART \u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e, K.492\u003cem\u003e-\u003c\/em\u003eOverture\n    \u003c\/strong\u003e\n    (4:02)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6908-2 ∙ First issued on Columbia L 1115\u003c\/span\u003e\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    9. \u003cstrong\u003eSIBELIUS \u003cem\u003eKuolema\u003c\/em\u003e, Op. 44\u003cem\u003e-\u003c\/em\u003eValse\n    triste\u003c\/strong\u003e (4:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6918-1 ∙ First issued on Columbia L 1162\u003c\/span\u003e\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    10. \u003cstrong\u003eSMETANA \u003cem\u003eThe Bartered Bride\u003c\/em\u003e - Overture \u003c\/strong\u003e(4:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6919-2 ∙ First issued on Columbia L 1115\u003c\/span\u003e\n   \n\u003c\/p\u003e\u003cp\u003e\n    11. \u003cstrong\u003eGRIEG Symphonic Dance No. 2, Op. 64\u003c\/strong\u003e (4:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6920-2 ∙ First issued on Columbia L 1132\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    12. \u003cstrong\u003eGOUNOD \u003cem\u003eRomeo and Juliet\u003c\/em\u003e - Processional\n    March*\u003c\/strong\u003e (3:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6921-2 ∙ First issued on Columbia L 1162\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    13. \u003cstrong\u003eWEBER \u003cem\u003eOberon\u003c\/em\u003e - Overture\u003c\/strong\u003e (8:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrices: 6922-1 and 6923-1 ∙ First issued on Columbia L\n        1104\n  \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    14. \u003cstrong\u003eBERLIOZ \u003cem\u003eDamnation of Faust\u003c\/em\u003e - Hungarian\n    March\u003c\/strong\u003e (4:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1916 ∙ Matrix: 6924-1 ∙ First issued on Columbia L 1105\n  \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    15. \u003cstrong\u003eGERMAN (text: Kipling) Have you news of my boy\n    Jack?* \u003c\/strong\u003e(3:59)\u003cbr\u003e\u003cb\u003eClara Butt\u003c\/b\u003e (contralto)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded c. February\/March 1917 ∙ Matrix: 75414-2 ∙ First issued on\n        Columbia 7145\u003c\/span\u003e\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    16. \u003cstrong\u003eBIZET \u003cem\u003eLa Jolie Fille de Perth\u003c\/em\u003e - Minuet* \u003c\/strong\u003e(3:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1917 ∙ Matrix: 76036-1 ∙ First issued on Columbia L 1227\u003c\/span\u003e\n   \n\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eMOZART \u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e, K.492 -\n    Fandango* \u003c\/strong\u003e(1:47)\u003cbr\u003e18. \u003cstrong\u003eLULLY \u003cem\u003eLes Amants Magnifiques\u003c\/em\u003e - Minuet**\u003c\/strong\u003e (2:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1917 ∙ Matrix: 76037-2 ∙ First issued on Columbia L 1227\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n   \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY (orch. B\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eü\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003esser) \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetite Suite\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e*\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e19.       1st Mvt.  - En bateau\u003cstrong\u003e\u003c\/strong\u003e (3:51)\u003cbr\u003e20. 4th Mvt.  - Ballet\u003cstrong\u003e\u003c\/strong\u003e (3:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 August and 10 or 23 October 1918 ∙ Matrices: 76225-1 and\n        76226-2 ∙ First issued on Columbia L 1248\n   \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan style=\"font-size: 16px;\"\u003eDownload Only\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e21.\u003cstrong\u003eVERDI \u003cem\u003eNabucco\u003c\/em\u003e – Selections* \u003c\/strong\u003e(6:45)\u003cbr\u003e\u003cb\u003eGrammophon-Orchester \u003c\/b\u003e(Black Diamonds Band \u003ci\u003eor \u003c\/i\u003eBeecham Symphony Orchestra)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 August 1910 ∙ Matrices: 4426\/7f ∙ First issued on Gramophone\n    Concert Record 040653\/4\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eSir Thomas Beecham ∙ Beecham Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n     \u003cem\u003e* = Only Beecham recording of the work\u003cbr\u003e** = Only Beecham recording of any work by that composer\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to\n   \n        Jolyon Hudson, Richard Kaplan, Dave Schmutz and the collection of the\n        late Don Tait for providing source material\n    \n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC755.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC755.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":55026963317070,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205503729998,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC755.jpg?v=1761274806"},{"product_id":"pasc755-cd","title":"BEECHAM The Complete Acoustics (1910-1918) - 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orchestral excerpts\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTURINA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDanzas fantásticas, Op. 22\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCapriccio espagnol, Op. 34\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRANADOS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAndaluza - Danza española No. 5 in E minor, Op. 37\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOSZKOWSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSpanish Dances, Book 1, Op. 12\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, Paris 1953 and London 1956-57\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e1hr 19:11\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC774.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eAtaúlfo Argenta’s career was one of the most brilliant and cruelly abbreviated in twentieth-century conducting. Born in Castro Urdiales in 1913, he first established himself as a pianist, studying in Madrid and Liège before further work in Germany brought him into contact with Carl Schuricht, who encouraged him towards the podium. Argenta’s rise was rapid. By 1947 he was sharing the direction of the Orquesta Nacional de España, and from 1950 he appeared regularly with the Orchestre de la Société des Concerts du Conservatoire in Paris. He also built an extensive recorded legacy in zarzuela, helping to preserve a repertory that was then poorly represented on disc. His sudden death in January 1958, aged only forty-four, halted a career that was plainly moving onto the widest international stage.\u003c\/p\u003e\n\n\u003cp\u003eThis collection brings together two complementary portraits of Argenta in Spanish and Spanish-inspired repertoire. The Paris recordings, made in mono in 1953, place him before a French orchestra in music by Albéniz and Turina. The later London sessions, recorded in stereo at Kingsway Hall over New Year 1956-57, show him commanding the London Symphony Orchestra in works by Rimsky-Korsakov, Granados and Moszkowski. Heard together, they move from Spain imagined by Spanish composers to Spain refracted through the colourful imagination of outsiders.\u003c\/p\u003e\n\n\u003cp\u003eAlbéniz composed \u003cem\u003eIberia\u003c\/em\u003e between 1905 and 1909 as a cycle of twelve piano pieces, each demanding extraordinary refinement of rhythm, colour and touch. The five selections heard here were orchestrated by Enrique Fernández Arbós, who transformed the piano’s layered sonorities into a glittering orchestral fabric without losing their intricate rhythmic life. \u003cem\u003eEvocación\u003c\/em\u003e opens in a haze of memory; \u003cem\u003eEl Puerto\u003c\/em\u003e dances with bright coastal energy; \u003cem\u003eEl Corpus en Sevilla\u003c\/em\u003e grows from solemn procession to ecstatic celebration; \u003cem\u003eTriana\u003c\/em\u003e captures the swagger and pulse of Seville’s famous quarter; and \u003cem\u003eEl Albaicín\u003c\/em\u003e evokes Granada’s old Moorish district with hypnotic, nocturnal intensity. Argenta understands that this music needs both atmosphere and backbone: the perfume never obscures the dance.\u003c\/p\u003e\n\n\u003cp\u003eTurina’s \u003cem\u003eDanzas fantásticas\u003c\/em\u003e, written in 1919 and inspired by José Más’s novel \u003cem\u003eLa orgía\u003c\/em\u003e, offers three sharply contrasted visions. \u003cem\u003eExaltación\u003c\/em\u003e is founded on the Aragonese jota; \u003cem\u003eEnsueño\u003c\/em\u003e turns to the asymmetrical sway of the Basque zortziko; and \u003cem\u003eOrgía\u003c\/em\u003e erupts in an Andalusian farruca, full of heat, brilliance and barely contained abandon. Argenta binds the suite together with a strong dramatic curve, making the final dance feel not merely festive but inevitable.\u003c\/p\u003e\n\n\u003cp\u003eRimsky-Korsakov’s \u003cem\u003eCapriccio espagnol\u003c\/em\u003e is Spain seen through the eyes of a Russian master orchestrator. Its five linked sections set Asturian melodies amid a succession of instrumental solos, flashing percussion, guitar-like string writing and dazzling changes of colour. Argenta’s performance became one of the celebrated early stereo showpieces, valued not only for its spectacular sound but for the conductor’s ability to make virtuoso display feel rhythmically alive rather than merely decorative. Reviewing the original Decca programme, Paul Serotsky called it “a joy from start to finish” and praised its “peerless evocation” of Spanish character.\u003c\/p\u003e\n\n\u003cp\u003eGranados’s \u003cem\u003eAndaluza\u003c\/em\u003e provides a more intimate interlude, its supple melody and gently insistent rhythm handled with affectionate simplicity. Moszkowski’s \u003cem\u003eSpanish Dances\u003c\/em\u003e, originally written for piano duet and later orchestrated by Philipp Scharwenka and Valentin Frank, belong to the nineteenth-century European tradition of imagined Spain. They may be less authentically local than Albéniz or Turina, but their melodic abundance, deft scoring and buoyant rhythms make an irresistible finale.\u003c\/p\u003e\n\n\u003cp\u003eAcross both orchestras and two very different recording environments, Argenta’s signature remains unmistakable: rhythmic lift, vivid colour, elegance without fuss, and excitement that never becomes crude. These performances preserve a conductor working at white heat, with an instinctive command of the music’s accent and gesture. In this new XR remastering, their brilliance, warmth and extraordinary vitality can once again take centre stage.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eARGENTA\u003c\/b\u003e conducts España\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eParis recordings   (46:14)\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003cem\u003eIberia\u003c\/em\u003e - orchestral excerpts\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1. \u003cspan style=\"font-size: 16px;\"\u003eBook 1 No. 1 - Evocación\u003c\/span\u003e   (5:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2. \u003cspan style=\"font-size: 16px;\"\u003eBook 1 No. 3 - El Corpus en Sevilla\u003c\/span\u003e   (8:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3. \u003cspan style=\"font-size: 16px;\"\u003eBook 2 No. 3 - Triana\u003c\/span\u003e   (4:41)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4. \u003cspan style=\"font-size: 16px;\"\u003eBook 1 No. 2 - El Puerto\u003c\/span\u003e   (4:36)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5. \u003cspan style=\"font-size: 16px;\"\u003eBook 3 No. 1 - El Albaicín\u003c\/span\u003e   (7:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e\u003cem\u003eOrchestrated by Enrique Fernández Arbós\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTURINA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003cem\u003eDanzas fantásticas\u003c\/em\u003e, Op. 22\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6. \u003cspan style=\"font-size: 16px;\"\u003eI. Exaltación\u003c\/span\u003e   (5:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7. \u003cspan style=\"font-size: 16px;\"\u003eII. Ensueño\u003c\/span\u003e   (6:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8. \u003cspan style=\"font-size: 16px;\"\u003eIII. Orgía\u003c\/span\u003e   (4:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003e\nconducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded at Maison de la Mutualité, Paris\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12, 14-17 \u0026amp; 19 October 1953 (mono)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eLondon recordings   (32:57)\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003cem\u003eCapriccio espagnol\u003c\/em\u003e, Op. 34\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9. \u003cspan style=\"font-size: 16px;\"\u003eI. Alborada\u003c\/span\u003e   (1:11)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10. \u003cspan style=\"font-size: 16px;\"\u003eII. Variazioni\u003c\/span\u003e   (4:17)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e11. \u003cspan style=\"font-size: 16px;\"\u003eIII. Alborada\u003c\/span\u003e   (1:13)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e12. \u003cspan style=\"font-size: 16px;\"\u003eIV. Scena e canto gitano\u003c\/span\u003e   (4:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e13. \u003cspan style=\"font-size: 16px;\"\u003eV. Fandango asturiano\u003c\/span\u003e   (3:18)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e14. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGRANADOS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cem\u003eAndaluza\u003c\/em\u003e - Danza española No. 5 in E minor, Op. 37\u003c\/span\u003e   (4:08)\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOSZKOWSKI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003cem\u003eSpanish Dances\u003c\/em\u003e, Book 1, Op. 12\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e15. \u003cspan style=\"font-size: 16px;\"\u003eNo. 1 in C major\u003c\/span\u003e   (1:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e16. \u003cspan style=\"font-size: 16px;\"\u003eNo. 2 in G minor\u003c\/span\u003e   (4:05)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e17. \u003cspan style=\"font-size: 16px;\"\u003eNo. 3 in A major\u003c\/span\u003e   (2:45)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e18. \u003cspan style=\"font-size: 16px;\"\u003eNo. 4 in B flat major\u003c\/span\u003e   (2:31)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e19. \u003cspan style=\"font-size: 16px;\"\u003eNo. 5 in D major\u003c\/span\u003e   (3:03)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e\u003cem\u003eOrchestrated by Valentin Frank (Nos. 1, 3 \u0026amp; 4) and Philipp Scharwenka (Nos. 2 \u0026amp; 5)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\nconducted by \u003cb\u003eAtaúlfo Argenta\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded at Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e31 December 1956 \u0026amp; 1 January 1957 (stereo)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 19:11\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC774.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC774.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 \u0026 Ambient Stereo 24-bit FLAC","offer_id":60146946834766,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":60146946867534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":60146946900302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC774_7bf2b603-1dd4-4831-b66c-4abd8bc617e3.jpg?v=1786938683"},{"product_id":"pasc774-cd","title":"ARGENTA conducts España (1953\/57) - PASC774 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":60146908758350,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60146907906382,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC774_060bf5aa-1487-4077-a717-12cfb011987d.jpg?v=1784208659"}],"url":"https:\/\/www.pristineclassical.com\/collections\/composer-rimsky-korsakov.oembed?page=5","provider":"Pristine Classical","version":"1.0","type":"link"}