{"title":"Rossini","description":"\u003cp\u003eGioachino Rossini (1792-1868) was an Italian composer and one of the great masters of opera. Born in Pesaro, he achieved astonishing success while still young and dominated Italian opera before retiring from the stage at an unexpectedly early age.\u003c\/p\u003e\u003cp\u003eHis operas include \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e, \u003cem\u003eLa Cenerentola\u003c\/em\u003e, \u003cem\u003eSemiramide\u003c\/em\u003e, \u003cem\u003eGuillaume Tell\u003c\/em\u003e and many others. He also wrote sacred music, songs and piano pieces in later life.\u003c\/p\u003e\u003cp\u003eRossini’s music is brilliant, witty, rhythmically buoyant and vocally dazzling. His famous crescendos and comic timing reveal a theatre mind of formidable precision.\u003c\/p\u003e\u003cp\u003eFew composers have understood momentum so well. Rossini could make an aria sparkle, a finale accelerate and an audience surrender before it knew it had been conquered.\u003c\/p\u003e","products":[{"product_id":"pasc245","title":"CANTELLI NBC Concert No. 39: Rossini and Tchaikovsky (1954) - PASC245","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture from La Cenerentola\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. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1954, New York City\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 49:04 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC 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;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt is one of his great achievements at NBC578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is the first CD release of this extraordinary\n performance, the only other release I know being on an LP in a \nlimited-edition Toscanini Society set devoted to Cantelli. It is one of \nhis great achievements at NBC, stronger and sonically superior to his \nonly other account there—a 1950 performance issued in two CD sets \ndevoted to him: Music \u0026amp; Arts 904, four CDs, and Testament SBT4 1306,\n four CDs. Not only is this Pristine disc superior to its LP \npredecessor, it surpasses many of NBC’s efforts in Carnegie Hall. To \njudge from the sound, the microphone was placed at a slightly greater \nthan usual distance from the stage, providing a bit more “air” around \nthe orchestra. With the exceptionally wide dynamic range of this \nrelease, this is about as realistic as Carnegie Hall recordings could be\n at the time, a realism that makes some of NBC’s efforts there for \nToscanini seem comparatively cramped. And the performance is worthy of \nthose efforts. Cantelli leads an account utterly free of mannerisms of \nany kind. Tempos are never distended, rhythm and pulse are free of \ndistortion, and balances are gauged for maximum clarity. What it recalls\n (without duplicating) is the fine performance recorded for English \nDecca by Erich Kleiber (Testament SBT2 1352). In short, for those who \ncare about Cantelli or the Tchaikovsky Fourth, this is a release not to \nbe missed. Not to be ignored, the Rossini is a welcome bonus: equally \nwell recorded, deliciously crisp, and just a tad broader than Toscanini \nrendered it. Certainly this release stands as another major achievement \nof Pristine’s Andrew Rose. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMortimer H. Frank   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC245.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eCantelli's penultimate NBC Symphony Orchestra concert\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eA fine Tchaikovsky Fourth in superb sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003eThis penultimate concert of Cantelli's with the NBC Symphony Orchestra was rebroadcast some years later by the BBC and a high quality open reel tape of that broadcast has been my source here. As with many of their rebroadcasts, the original commentary has been lost here. However, the sound quality of the source I was thus able to work on was markedly superior to anything other that the original master tapes, and thus any contemporary broadcast recordings from the 1950s. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003eNaturally I was, from this starting point, able to make considerable inroads on sound quality – after all, the BBC was still dealing with 1950s originals, and it is rare that such material cannot be improved upon by modern remastering. What emerged here following XR remastering was a live Cantelli recording of unusually high sound quality, one which ranks among the very best I've heard. I leave discussion of the performance to Keith Bennett, who I must thank once more for providing the source - you can read his notes below.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eOverture from La Cenerentola\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36 \u003c\/span\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003ePlayed by \u003cb\u003eNBC Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e conductor \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003eLive NBC broadcast from Carnegie Hall, 14th February, 1954\u003cbr\u003e Transfer tape from the collection of Keith Bennett\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 49:04 \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC245.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC245.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eCantelli’s penultimate Concert, his Thirty-ninth,\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003ewith the NBC Symphony Orchestra - 14 February 1954\u003c\/span\u003e\u003cem\u003e\u003cbr\u003e \u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"LEFT\"\u003e\u003cstrong\u003eRossini: Overture La Cenerentola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003eThis overture only came into Cantelli’s repertoire in 1953 and received his last performance in 1954. During that time he gave eight performances with five orchestras but this, his only performance with the NBC Symphony Orchestra, is the only one that has been preserved.After he had told Bicknell – the producer of several of his recordings for HMV – that he was to take over the helm at the Teatro alla Scala late in 1956 he indicated that he wished to record a number of short pieces with the Orchestra della Scala before then and Bicknell had already jotted down his initial thoughts for this recording in an undated hand-written note which included five Rossini overtures (La Cenerentola; Il signor Bruschino; La gazza ladra; L’italiana in Algeri and Semiramide) as well as Mascagni, some Verdi and Wolf-Ferrari. Unfortunately, the time could not be found for the recordings t take place in 1956 although there were tentative plans for recording in 1957. Sadly, it was not to be.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003eCantelli had just four of Tchaikovsky’s compositions in his repertoire, the \u003cstrong\u003eFantasy Overture Romeo and Juliet \u003c\/strong\u003eand – as was customary at the time of his concert-giving – the last three symphonies. At about the time that Cantelli appeared on the international stage Tchaikovsky was usually interpreted in an emotional manner typified by the likes of Koussevitsky, Mengelberg and Stokowski – all great conductors, but whose style would not find favour today. That manner of interpretation was anathema to Cantelli (as it is to many of today’s record collectors) and he was generally more straightforward in his performances of the four of Tchaikovsky’s works in his repertoire.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003eCantelli’s way was to purge them of any semblance of sentimentality by keeping a relatively firm grip on rhythm but this is not to say that \u003cem\u003erubato\u003c\/em\u003e was banished entirely, merely that it was less in evidence than can be found in many of the more overt emotional performances. But what is accepted as the norm today, ie a closer approximation of the indications in the score, was like a breath of fresh air in the early 1950s. Cantelli’s recordings as recordings are not, of course, the equal of the vastly improved sonics which are to be heard in the latest stereo spectacular but listen to the young conductor’s musicianship and it is remarkable to hear how they equate with many of the superior sounding recordings currently to be found in the present catalogue and readers would do well to remember that probably around 100 recordings of \u003cstrong\u003eSymphonies 4 \u003c\/strong\u003eand \u003cstrong\u003e5 \u003c\/strong\u003ehave been available and even more (130?) of \u003cstrong\u003e Symphony No.6\u003c\/strong\u003e, such is the popularity of these symphonies with the record-buying public.\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"LEFT\"\u003e\u003cstrong\u003eTchaikovsky: Symphony in F minor, No.4, Op.36\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eCantelli’s Recorded Broadcasts \u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eAndante sostenuto\u003c\/em\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eAndantino in modo di canzone \u003c\/em\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eScherzo: Pizzicatto ostinato – Allegro \u003c\/em\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eAllegro con fuoco\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ctable style=\"width: 600px;\" cellspacing=\"0\" cellpadding=\"7\" align=\"center\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"194\"\u003e \u003ccol width=\"107\"\u003e \u003ccol width=\"34\"\u003e \u003ccol width=\"32\"\u003e \u003ccol width=\"30\"\u003e \u003ccol width=\"28\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e2\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e3\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e4\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"180\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"170\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e24 December 1949\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"41\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e16:44\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"39\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:10\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e5:42\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:09\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"180\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"170\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e14 February 1954\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"41\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e17:08\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"39\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:47\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e5:34\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:43\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"180\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"170\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e30 January 1955\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"41\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e17:02\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"39\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:36\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e5:39\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:47\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThree of the six performances which Cantelli gave in the USA were broadcast although only the two which he gave with the NBC Symphony Orchestra have been appeared on CD (as at March 2008). While Cantelli did not subvert the music’s pulse for emotional impact he was more prone to accelerate towards climaxes in the 1949 performance (eg at bar 188 before the fanfare returns) which could be put down to youthful exuberance. In the fourth movement there is one curious unauthorized pause at Letter C and he adopts a slower tempo at Letter E neither of which he repeated in the later broadcast performances. Rehearsals for the 1949 performance have appeared on CD.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt is difficult to appreciate after more than 50 years just how strong an impression Cantelli’s way with this symphony – and in particular this performance – made on its listeners. This is what the very experienced American critic, Bernard Haggin, had to say in an article published in \u003cem\u003e\u003cstrong\u003eThe Nation \u003c\/strong\u003e\u003c\/em\u003eon 20 March 1954\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cem\u003eI was especially grateful for the repetition of Tchaikovsky’s No.4 – the first in my forty years experience that gave me an accurate realization in sound what Tchaikovsky set down in his score, and one that showed him to be a better composer of his music than Stokowski, Koussevitsky, Mengelberg and all the others who have insisted on recomposing it for him.\u003c\/em\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eImagine, a skilled critic acknowledging that he had heard a performance which actually revealed what was in the score for the first time and Haggin must have heard the symphony many, many times. In a nutshell, that was what Cantelli achieved so often when he conducted music which had become distorted over the years by the pygmies (using Giulini’s assessment of conductors when compared with the real creative geniuses) and that is not to say that Cantelli did not take some liberties with the score, but his touches were less manipulative than those conductors which Haggin quotes.\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe performance with the Philharmonic-Symphony Orchestra of New York on 30 January 1955 was the last time that Cantelli conducted this symphony and the somewhat warmer sonority of this orchestra will (if a CD ever appears) probably be considered more appropriate to Tchaikovsky’s score to either of the earlier performances with the NBC Symphony Orchestra.\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e© Keith Bennett 2009\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003eKeith Bennett is the author of \u003cstrong\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/strong\u003e(published 2009) which is only available from GC Publishers. For further details either write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk IP12 4UL, UK or e-mail \u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34502824269,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34502824333,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34502824397,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34502824461,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC245.jpg?v=1490097776"},{"product_id":"pasc245-cd","title":"CANTELLI NBC Concert No. 39: Rossini and Tchaikovsky (1954) - PASC245 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478222285,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478222349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC245_3ad52335-4569-497f-9a02-876fc96ed859.jpg?v=1658245053"},{"product_id":"pasc269","title":"CANTELLI The 1952 Philharmonia Recordings - PASC269","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\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\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePavane pour une Infante Défunte\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Gazza Ladra - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, London, 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 58:13 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia 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;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStunning combination of aristocratic finesse, urbanity, and controlled excitement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis seems like a curious choice for Pristine, as \nthese classic 1952 recordings have long been available on Testament, in \nfine remasterings from the EMI master tapes. The sources used here are \nrare reel-to-reel tapes; their sound lacks the richness and impact of \nTestament’s, but is attractive in its own way, open and bright.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eCantelli’s “Pathétique” is a well-known quantity \nthat probably does not require much comment at this stage, but it was \ninteresting to revisit the performance, not having heard it for several \nyears. I find it curiously elusive—objective, phenomenally articulate, \nquite stellar in the polish and precision of the playing, but with a \nquality of monumental freeze-dried perfection that can seem rather \nalienating. Cantelli has an extreme aversion to tempo modification, even\n those explicitly called for in the score. In the first movement, the \nmain theme and development are spacious and unhurried; the second theme \ncool, brisk, and straight, with scant regard for Tchaikovsky’s myriad \nnotated tempo inflections. The Allegro con grazia is straitlaced, with \nlittle charm; the scherzo-march deliberate (9:16), articulated and \nbalanced with phenomenal clarity. The finale is beautifully played, \nrising to great heights of intensity in the reprise of the main theme, \nbut the second theme again exhibits that curiously straitlaced \nreluctance to observe the notated tempo fluctuations.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eComparing with other famous 1950s studio versions \nwith the same orchestra and label—Karajan (1955–56), Kempe (1957), \nSilvestri (1959), Giulini (1959)—all of these, in their different ways, \nseem more attuned to the music’s humanity. The oft-repeated likening of \nCantelli to Toscanini has always seemed off the mark to me (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epace\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the old maestro’s own comments)—certainly there is little resemblance \nto that conductor’s volatile, spontaneous, flexible conception of this \nwork, which sings and dances in a way the young Italian’s never does. \nInterestingly, a live NBC version from 1953 (also available on Pristine)\n is, if anything, even more tightly controlled.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRavel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePavane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n gets ultra-refined treatment, though here Testament’s transfer is \ngreatly preferable to Pristine’s edgy, crumbly sound. For my money, the \nRossini is the best thing here, in its stunning combination of \naristocratic finesse, urbanity (those solo winds in the \nintroduction—sheer perfection!), and controlled excitement. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC269.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eAll of Cantelli's 1952 Philharmonia recordings XR remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFeaturing his superb 'Pathétique' - \"recommended...splendid\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe recordings here, all of which were generously lent by Keith Bennett for the purposes of this release, were drawn largely from a rare and unusually high quality source. During the 1950s, His Master's Voice recordings could be purchased on disc, normally both 78rpm shellac and, from 1952 onwards, on the quickly popular 33rpm vinyl format.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, they also ran a short series of \"High Fidelity Tape Recording\" issues, the \"HTA\" series, and at the time the highest-priced issue format the company offered. Each tape consisted of a 7-inch spool of 1\/4 inch EMITAPE with two mono tracks, one on each side, running at 7.5 inches per second. A printed paper inlay contained the sleevenotes, and a small slip which referenced the Batch Number was hand-initialled by the tape operator, an inspector and a packer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDespite their undoubted high fidelity, especially when replayed as here on a modern, broadcast-standard Studer tape recorder, these tapes failed to attract much public attention at the time, quite possibly as a result of their exorbitant cost. It has to be said that they have been a pleasure to work from - offering the highest quality of any domestic medium I've encountered from the era.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv id=\"notes\"\u003e\n\n\u003cbr\u003e\n\u003c\/div\u003e\u003ctable style=\"width: 100%;\" cellspacing=\"1\" cellpadding=\"5\" bgcolor=\"#FFFFCC\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr bgcolor=\"#EBEBEB\"\u003e\n\u003ctd width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr bgcolor=\"#EBEBEB\"\u003e\n\u003ctd class=\"body\" valign=\"middle\" bgcolor=\"#FFFFFF\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"top\" bgcolor=\"#EBEBEB\"\u003e\n\u003ctd class=\"body\" valign=\"middle\" bgcolor=\"#FFFFFF\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"51%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"top\"\u003e\n\u003ctd class=\"body\" bgcolor=\"#FFFFFF\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd bgcolor=\"#EBEBEB\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"top\" bgcolor=\"#EBEBEB\"\u003e\n\u003ctd class=\"body\" valign=\"middle\" bgcolor=\"#FFFFFF\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e Symphony No. 6 in B minor, 'Pathétique', Op. 74 \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 24, 28 \u0026amp; 30 October, 1952, Royal Festival Hall, London\u003cbr\u003e Transfer from HMV open reel tape HTA 3 \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003e Pavane pour une Infante Défunte \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 24 \u0026amp; 25 October, 1952, Royal Festival Hall, London\u003cbr\u003e Transfer from HMV open reel tape HTA 23 \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e La Gazza Ladra - Overture \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 22 October, 1952, Royal Festival Hall, London\u003cbr\u003e Recording from the Keith Bennett collection\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Philharmonia Orchestra\u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Guido Cantelli\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2011\u003cbr\u003e Cover artwork based on a photograph of Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 58:13 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC269.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC269.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - THE GRAMOPHONE, JUNE 1953:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis is the recommended LP of the Pathetique. Karajan's (33CX1026) has been described, not without reason, as \"vulgar and pretentious.\" Münch (on LXT2544) underplayed the emotional work. Cantelli strikes an admirable balance between the conflicting demands of expressiveness and taste. This is a more exciting, more moving performance than that which he gave in the Festival Hall six months ago. The composer's directions (incalzando, animanclo, ppppp, etc.) are more passionately observed. But hysteria is avoided, and in the finale the depths of misery are laid bare. In addition there is the same miraculous care for the orchestral playing which marks all that Cantelli does. Phrases are shaped and moulded with loving care. The only faults are trivial ones : for instance, the flutes, in the two bars before the trio in II (page 95, Boosey \u0026amp; Hawkes pocket score) do not observe Tchaikovsky's slur marks. The recording, on the whole, is splendid. The Philharmonia's fine wood-wind is vividly reproduced (notice how it sings out in the second limb of the second subject). Sometimes the string detail is not quite clear, and there are patches of gramophoney tone in the finale. But in warmth, brilliance and depth there is little to be desired.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cb\u003eNotes for Cantelli's 1952 Commercial Recording Sessions\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e \u003cem\u003e\u003cspan class=\"bodymid\"\u003eby Keith Bennett\u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eBy the time that Guido Cantelli appeared\n with the Philharmonia Orchestra for the first time in the autumn of \n1951 he had already made five complete commercial recordings with three \norchestras. In 1949 these were: the Haydn \u003cstrong\u003eSymphony No.93\u003c\/strong\u003e with the NBC Symphony Orchestra (2 March) followed by Rossini’s overture \u003cstrong\u003eLe siège de Corinthe\u003c\/strong\u003e (9 May) and Casella’s \u003cstrong\u003ePaganiniana\u003c\/strong\u003e\n (13 and 14 May) with the Orchestra Stabile dell’Accademia Nazionale di \nSanta Cecilia. The following year he made his second recording with the \nNBC Symphony Orchestra, this time it was Hindemith’s \u003cstrong\u003eMathis der Maler \u003c\/strong\u003e(13\n January), thus completing both the works which he had conducted for his\n debut in the States the previous year. Then followed the Tchaikovsky \u003cstrong\u003eSymphony No.5\u003c\/strong\u003e\n with the Orchestra della Scala after the orchestra’s visit to the \nEdinburgh Festival and this was recorded at the Abbey Road Studio in \nLondon (23 and 26 September). But it was 1951 that heralded the \nbeginning of his relationship with what was considered by many to be \nBritain’s premier orchestra - the Philharmonia Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCantelli returned to London in October \n1952 for six concerts with the Philharmonia Orchestra and plans were in \nplace by the previous August for recording sessions which were also to \nbe held in the Royal Festival Hall. This was possibly an experiment to \nestablish whether the hall would be a suitable venue for recordings but \nit was never used again for Cantelli and possibly did not find \u003cspan lang=\"en-GB\"\u003efavour\u003c\/span\u003e\n with Douglas Larter, the engineer for the majority of Cantelli \nrecordings on the HMV label. The works recorded and which appear on this\n CD were \u003cstrong\u003ePavane pour une infante défunte (\u003c\/strong\u003eRavel)\u003cstrong\u003e La gazza ladra\u003c\/strong\u003e (Rossini), and \u003cstrong\u003eSymphony No.6\u003c\/strong\u003e\n (Tchaikovsky) and as usual all had been played at the concerts – the \nRavel on 5 and 8 October, the Tchaikovsky on 14 October and the Rossini \non 17 October.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eRossini: Overture La gazza ladra\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe first session took place in the afternoon of 22 October and consisted of Rossini’s overture \u003cstrong\u003eLa gazza ladra. \u003c\/strong\u003eThis\n is interesting for four reasons; in the first place Cantelli only \nconducted the piece once (on 17 October); secondly it was his very first\n performance; thirdly it disposes of the view that Cantelli would only \nrecord a work after it been completely assimilated into his repertoire \nby several performance sand fourthly, the recording sheet has a clearly \nhandwritten annotation ‘Not approved by artistes’. That would appear to \nindicate that it was the producers – the highly experienced David \nBicknell and Lawrance Collingwood – who rejected the recording and it \nnever released by EMI. But why? True, there had been an outburst from \nCantelli when the principal flute, Gareth Morris (these two musicians \nwere not on the best of terms), ended a passage with a \npom-tiddlely-pom-pom to lighten the proceedings. But Alan Sanders in his\n review in the November 1994 issue of \u003cem\u003e\u003cstrong\u003eGramophone \u003c\/strong\u003e\u003c\/em\u003e wrote \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003ci\u003eCantelli did not approve the release of the Rossini overture, although it is difficult now to understand why, for this is a delectably vivacious and expressive reading, superlatively played in a more than adequate quality of sound. I hope the conductor’s shade will not be too annoyed that his wishes have been posthumously disobeyed. \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eWhile one can be in absolutely in total \nagreement with Sanders’ assessment of the recorded performance I am not \nconvinced that it was Cantelli who rejected the recording: the \nannotation is ‘artistes’ and I believe it is quite likely that it was \nBicknell and Collingwood (both of the International Artistes Department)\n who made the decision, maybe to pacify the conductor – but who knows \nfor certain?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eRavel: Pavane pour une infante défunte\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThis work had a particular significance \nfor Cantelli: he was inordinately fond of his nephew, Sergio, and was \ndevastated when the child died aged only 12 in November 1951. Although \nCantelli had only given one previous performance of this work (sometimes\n interpreted as a \u003cstrong\u003ePavane for a dead child\u003c\/strong\u003e rather than a\n princess) early in 1946 with an unknown orchestra – he resolved to \ndedicate his next performance – which took place on 1 December 1951with \nthe NBC Symphony Orchestra – to his memory. No further performances took\n place until his concerts with the Philharmonia Orchestra on 5 and 8 \nOctober 1952 and when he came to make the commercial recording a few \ndays later his sadness over the loss of his nephew created enormous \nproblems during the sessions as he was fully aware that he was now \nmaking – what was for him – a permanent memorial to Sergio. The problems\n were not caused by any shortcomings of the principal horn, Dennis Brain\n (how could it be?), but with Cantelli’s difficulty of balancing the \nharp which reduced Renata Scheffel-Stein to a nervous wreck. \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eMany sources refer to the number of takes which Cantelli required to obtain the performance he wanted for Ravel’s \u003cstrong\u003ePavane pour une infante défunte \u003c\/strong\u003ebut – after examination of the actual recording sheets – it would appear that the number has been exaggerated\u003cstrong\u003e. \u003c\/strong\u003eThe\n traumas experienced by the musicians at the sessions (and Cantelli took\n more than just three hours to achieve his requirements) are not evident\n on this CD – it is a most ravishing performance.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eTchaikovsky: Symphony in B minor, No.6, Op.74, \u003cem\u003ePathétique\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThere are instances when the tragedy of \nCantelli’s brief career registers with overwhelming force and this is \none of them. Cantelli performed this symphony on just six occasions and \nit is worth a moment’s thought that Karajan made more commercial \nrecordings of this symphony (seven) than Cantelli gave actual \nperformances. Cantelli first conducted the symphony on 27 July 1945 at \nan open air concert during his first appearance with the Orchestra della\n Scala and his last was the performance with the NBC Symphony Orchestra \non 21 February 1953 which has already been released on this label (\u003cstrong\u003ePASC 166\u003c\/strong\u003e).\n His previous concert performance was with the Philharmonia Orchestra on\n 14 October 1952 and was followed by four three-hour session on 24, 28 \nand 30 October for the commercial recording. As might be expected, with \nso short an interval between the commercial recording in London and the \nconcert performance in New York, there is little to choose between them:\n perhaps the commercial recording has a slightly more burnished sound, \nbut it’s marginal. Cantelli fully understands the emotional implications\n of the score which he conveys without resorting to exaggerations: the \ndemands of expressiveness are met without hysteria, tempi are \nwell-judged in all four movements, and the harrowing despair of the \nfinal movement is admirably portrayed. All this is also true of the live\n performance with the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003ePostscript\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eFinally, I cannot resist from commenting\n on a recording which I believe took place during the 1952 sessions but \nfor which I have been unable to trace any documentary evidence apart \nfrom a letter which I found while carrying out research at the EMI \nArchive. This was dated 26 July 1954 and was from Owen Mase to David \nBicknell. Mase – who had been the Concerts Adviser at the Royal Festival\n Hall from 1950 to 1953 – had become a close friend of Cantelli and \nBicknell often used him to liaise with the conductor. The gist of the \nletter was thanking Bicknell for sending some Cantelli LPs. He commented\n that the Schumann \u003cstrong\u003eSymphony No.4 \u003c\/strong\u003e(1953) ‘was a miracle of playing and recording’; considered that the \u003cstrong\u003eSiegfried Idyll\u003c\/strong\u003e (1951) ‘was absolutely first class’; thought the Brahms \u003cstrong\u003eSymphony No.1 \u003c\/strong\u003e(also\n 1953) ‘Excellent, though I think in the first movement he himself is \nnot at his absolutely top best’; for the Tchaikovsky he considered \u003cstrong\u003eSymphony No.5 \u003c\/strong\u003ewith the Orchestra della Scala (1950) as ‘good’ and \u003cstrong\u003eSymphony No.6 \u003c\/strong\u003e(1952)\n as ‘Very good’. There is nothing untoward there because those \nrecordings had been released. But the intriguing feature about this \ncorrespondence is that Mase also mentioned an overture which has never \nbeen issued – Wagner’s \u003cstrong\u003eEine Faust-Ouvertüre \u003c\/strong\u003e– \nconsidering it as being ‘Very good’. Despite diligent research no \nInstruction for Recording was found although an Instruction for \nRecording H5474 is mentioned on H5462 but was not seen – could that be \nrelevant regarding this ‘missing’ overture? Furthermore, no Recording \nSheet was located.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt should not come as no surprise that \nsome paperwork is missing because Cantelli often changed his mind about \nwhat he wanted to record and prior to 1955 his recordings with the \nPhilharmonia Orchestra were always associated with his concert \nprogrammes. If he was particularly pleased with the way the public \nperformance(s) had gone, the work was quite likely to be introduced into\n the recording schedule (cf the 1953 sessions when the four overtures \nscheduled were replaced by two symphonies!). It is as well to bear in \nmind that the EMI Archive is vast and covers over 100 years of \nrecordings and it is understandable if a couple of sheets of paper may \nhave become misfiled.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe recording \u003cem\u003emust \u003c\/em\u003ehave \nexisted! Owen Mase – whom I only met once – was not the sort of person \nwho would dream up a recording and then add further confusion to the \nsituation by making a comment about a non-existent record. Furthermore, \nafter Cantelli’s death, Bicknell issued an instruction that no \nrecordings by Cantelli – whether or not approved – were to be destroyed.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt is worth considering when this Wagner\n overture could have been recorded. Up until 1955 Cantelli’s recording \nsessions in London were always linked to the works which had been \nperformed in concerts a few days previously. Cantelli’s only \nperformances of \u003cstrong\u003eEine Faust-Ouvertüre \u003c\/strong\u003ewith the \nPhilharmonia Orchestra were on 14 and 17 October 1952 and it was not \nbroadcast. Between 22 and 30 October Cantelli had six three-hour \nrecording sessions in the Royal Festival Hall and it is perfectly \nfeasible that the Wagner was taped either on 22 or – more unlikely – 25 \nOctober.As can be seen in the Table below there were some 150 minuted \n‘spare’ on 22nd and while there is a lengthier period apparently \navailable on 25th one should bear in mind that the concentrated effort \nCantelli required for the number of takes for the \u003cstrong\u003ePavane\u003c\/strong\u003e probably left the orchestra pretty well exhausted.\u003c\/p\u003e\u003cdl\u003e\u003cdd\u003e\n\u003ctable style=\"width: 483px;\" cellspacing=\"0\" cellpadding=\"7\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"81\"\u003e \u003ccol width=\"46\"\u003e \u003ccol width=\"154\"\u003e \u003ccol width=\"144\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eDate\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eNo. of \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e3-hour\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eSessions\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eWork(s) recorded\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eApproximate Duration\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"CENTER\"\u003e\u003cstrong\u003eof Work(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"CENTER\"\u003e\u003cstrong\u003e(Timings for Takes)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e22 October\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003eLa gazza ladra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp\u003e9 minutes (28 minutes)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e25 October\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003ePavane\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e6 minutes (34 minutes)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/dd\u003e\u003c\/dl\u003e\n\u003cbr\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eFinally, I would like to record my \nthanks to the staff at the EMI Archive and others within the EMI \norganization who put up with the incessant questions posed over this \nenigma\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e\u003cspan class=\"body\"\u003e© 2011 Keith Bennett\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eKeith Bennett is the author of Guido Cantelli – Just \nEight Years of Fame (published 2009) which is only available from GC \nPublishers. \u003cbr\u003e For further details either write to:\u003cbr\u003e GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \u003cbr\u003e Suffolk IP12 4UL, UK \u003cbr\u003e or e-mail: \u003ca href=\"mailto:%20gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34515881613,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34515881677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34515881741,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34515881805,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC269.jpg?v=1490114354"},{"product_id":"pasc269-cd","title":"CANTELLI The 1952 Philharmonia Recordings - PASC269 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478238285,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478238349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC269_8871b54e-9a21-4b67-9d39-88faff1680c2.jpg?v=1658246475"},{"product_id":"pasc277","title":"BEECHAM in Seattle Vol. 3: Beethoven, Bizet, Massenet, Rossini, Saint-Saëns, Sibelius (1943) - PASC277","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eShorter works by \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBizet, Massenet, Rossini, Saint-Saëns, Sibelius\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1943\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:32 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSeattle Symphony\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;\"\u003eSir Thomas Beecham\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWill no doubt give pleasure to those who enjoy his work, particularly in live performances578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere is the third and final volume of Andrew \nRose’s transfers of live material from Thomas Beecham’s final season in \nSeattle. Those who have acquired the first two CDs—and who, presumably, \nare Beecham fans—have no big surprises in store here. As Rose mentions \nin his producer’s note, the quality of the playing is somewhat stronger \nhere than in earlier volumes, and the sound, while still fairly dim, is \nfor the most part a bit of an improvement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBeecham collectors will surely know that Sir \nThomas recorded all these works in the studio, over half of them more \nthan once. But, in his commercial recording of the Beethoven Eighth, for\n instance, the first movement doesn’t have the vigor of this reading, \ncomplete with Beecham’s audible exhortations to the orchestra. \nUncharacteristically, Beecham does take the exposition repeat in this \nmovement, something also true of the 1951 studio version. Despite the \nfact that, as Rose says, the orchestra is “on firmer ground” here than \nin the works on the first two volumes, the principal horn and clarinet \nplayers stumble in the notorious Trio of the Menuetto; also, the opening\n of this movement is missing, no doubt because the recordist was too \nslow in changing discs.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBeecham also provides a vocal obbligato in the Alla marcia from Sibelius’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKarelia Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which is very lively here, with a huge \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eritenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e at the end. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eValse triste\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is perhaps more languorous than the studio versions, the first of which\n was on a single 78 side and couldn’t be extended to the 5:11 duration \nof this reading. Saint-Saëns’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Rouet d’Omphale\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, like the Beethoven, betrays the lack of polish of the Seattle woodwinds. Rossini’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWilliam Tell \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture features some fine solo cello playing at the opening and a spirited final section.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhile this CD doesn’t add a great deal to our \nknowledge of Beecham, it will no doubt give pleasure to those who enjoy \nhis work, particularly in live performances. With the caveat about the \nlimited sound quality, and the missing bars of the Beethoven, it is \nrecommended to them. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC277.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBeecham in Seattle, 1943 - more previously unissued recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eBeecham's proof to the doubters that he could fashion a world-class ensemble\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eWe are lucky to have any recordings whatsoever of Beecham in Seattle - union disputes precluded any commercial recordings during Beecham's time with the orchestra. To the best of our knowledge there remain three CDs-worth of live material, captured at the start of the 1943 season and preserved first on acetate discs (since melted down), then open-reel tape (since lost), backed up onto more open reel tape (now almost unplayable) and cassette tape. Thus the humble cassette proves the best remaining source of these historic recordings, and it is from excellent transfers of these, supplied by a collector who wishes to remain anonymous, that I have worked.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSince our first volume was issued, and the recording credited to a local radio station, further information has come to light which suggests that it was Beecham himself who commissioned the recordings in order to silence his critics locally. This probably accounts for a short section missing from the beginning of the third movement of the Beethoven, where a disc side change was apparently not achieved in good enough time. Other than that, and thanks largely to the preponderance of shorter works in this volume, the other works here are complete.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eI have overall been particularly pleased with the sound quality achieved on this volume, with the Karelia Suite movement being a particularly good example of what was achieved in these recordings. It's also noticeable that, by comparison to the two previous issues in this series, the orchestra appears to be on much firmer ground and plays with considerably more style and accomplishment. If Sir Thomas Beecham had needed a compilation to demonstrate the abilities of his Seattle Symphony, then of the three volumes we have assembled this would surely be the one he would have chosen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eKarelia Suite, Op. 11 - 3. Alla marcia\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8 in F major, Op. 93\u003cbr\u003e\u003cb\u003eMASSENET \u003c\/b\u003eLa Vierge - Le Dernier sommeil de la Vierge\u003cbr\u003e\u003cb\u003eSAINT-SAËNS \u003c\/b\u003eLe Rouet d'Omphale, Op. 31\u003cbr\u003e\u003cb\u003eBIZET \u003c\/b\u003ePatrie Overture, Op. 19\u003cbr\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eValse Triste, Op. 44, No. 1\u003cbr\u003e\u003cb\u003eROSSINI \u003c\/b\u003eWilliam Tell Overture\u003cbr\u003e\u003cbr\u003eRecorded at 2.30pm concert, October 10, 1943, Moore Hall, Seattle\u003cbr\u003eExcept Saint-Saëns \u0026amp; Bizet: from 8.30pm concert, October 18, 1943, Music Hall Theater, Seattle\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSeattle Symphony\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, February-March 2011\u003cbr\u003e Cover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 74:32 \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\/PASC277.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC277.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":34582635725,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34582635789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34582635853,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34582635917,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC277_1dffd7de-759e-4d3a-9ffc-443be1a8e31c.jpg?v=1490175196"},{"product_id":"pasc277-cd","title":"BEECHAM in Seattle Vol. 3: Beethoven, Bizet, Massenet, Rossini, Saint-Saëns, Sibelius (1943) - PASC277 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478243853,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478243917,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC277.jpg?v=1658246720"},{"product_id":"pasc118","title":"MARTINON Strauss: Le Beau Danube \u0026 Rossini: William Tell Ballet Music (1955) - PASC118","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS (arr. Désormière) \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Beau Danube\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eWilliam Tell - Ballet Music\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1955\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 38:36  \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic 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;\"\u003eJean Martinon\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC118.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eTwo rarely-heard pieces in a superb transfer by Peter Harrison\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"...an exceedingly attractive disc that should cheer anyone up...\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 18px;\"\u003e (Gramophone, 1956)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eI’m one of those sad people who watch ballet with their eyes shut. A philistine. Not to say that I don’t appreciate the sounds coming from the pit, for I do, very much. It’s what’s happening above that gets me: some twinkle-toes anorexic toodling around on stage flapping her arms and pretending to be a dying swan - no, no, I prefer using my imagination, thanks.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSo listening to ballet on LP or CD is how I best like this dish served and fortunately there are chefs of genius who wrote some of their finest music in this genre - Tchaikowsky, anyone? Stravinsky? (Ducks and runs for cover.) This music, though written specifically for ballet, can stand by itself perfectly well.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThere being more ballet companies than there is music for them to perform, however, other composers have resorted to satisfying the demand by arranging yet other composer’s works, frequently with great skill and the result becoming more popular than the originals. I would suggest many more people know the wonderful tunes of Offenbach through Rosenthal’s Gaîté Parisienne ballet music than from listening to the actual operettas.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThere, I did it. I used the unfashionable ‘T’ word. Gosh, I’ll do it again. Tunes. Ballet music is usually full of Tunes. Often joyous, uplifting, and... oh oh, here comes another Unfashionable Word: Fun. Fun tunes! Somehow in contemporary classical music composers seem to have lost the knack - maybe even the desire - to write tuneful, fun music. It risks being labelled \"light music\" - and how often do we hear \"light music\" performed in the concert hall, or recorded?\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt wasn’t always so, and not very long ago, either. Think of Pineapple Poll (Sullivan arr. Mackerras); think of Love In Bath (Handel arr. Beecham); and think of the two ballet scores derived from the music of the Strauss family: Graduation Ball, arranged in 1940 by Antal Dorati; and Le Beau Danube arranged in 1933 for Leonide Massine by Roger Désormière. Both enjoyed success: both are now almost forgotten.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e(Pedant’s parentheses: the title confuses people. It is as I have written it above, and not \"The Blue Danube\" or even \"The Beautiful Blue Danube\"; and even the Decca sleeve-note writer for the US release got muddled and in one place attributed the work to Dorati!)\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn 1953 Decca had released an LP of Graduation Ball and, not being afflicted with today’s stuffiness, the writers of The Record Guide enjoyed it hugely. They concluded a glowing review with the sentence: \"May we venture one ungrateful remark: that the ballet Le Beau Danube, of which no recording is available, is even more consistently jolly\". The recording now re-released here was Decca’s early 1956 response, and the Gramophone’s reviewer, the doughty TH, had nothing but praise for it. \"Consistently jolly\" it most certainly is. Fun. Tuneful. And conducted with bounce and elan by Jean Martinon.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe ‘fill up’ to the Decca LP and thus to our re-release is Rossini’s ballet music to his opera William Tell. This comes from a period where opera composers felt it necessary to include a ballet about two thirds the way through. Examples that come immediately to mind are the ballet music to Gounod’s Faust; to Verdi’s Aida and Othello; and others - even Strauss includes an optional ballet near the end of the second Act of Fledermaus. Here’s an LP sleeve-note writer, in 1972, bewailing the practice:\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003e\"Any excuse, however far-fetched, was used to bring in a ballet... it was a necessary evil to which an opera often owed its success or failure... The often dramatically inappropriate ballet insertions [which] merely interrupted the course of the action have [since] been eliminated from many operas. In some cases, however, this has meant that music has been forgotten which fully deserves to survive...\"\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eRossini’s William Tell ballet music is a case in point. Although everyone knows the overture to the opera - or at least its second part - who knows the complete work? It’s not one of his most popular. And the ballet music is almost completely forgotten. So here we have it: a little, neglected masterpiece.\u003c\/p\u003e\n\u003cp\u003eAs the rain buckets down outside my window on a July evening in England, it’s appropriate for me to repeat the closing words of TH’s review: \"an exceedingly attractive disc that should cheer anyone up on a winter’s day\".\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cem\u003ePeter Harrison\u003cbr\u003e \u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eLe Beau Danube (complete ballet)\u003c\/strong\u003e (Strauss, arr. Désormière) - 29'47\"\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWilliam Tell Ballet Music\u003c\/strong\u003e (Rossini) - 8'49\"\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eRecorded 24-26 Oct 1955, Kingsway Hall, London\u003cbr\u003eProducer: James Walker\u003cbr\u003eIssued in 1956 as UK Decca LP LXT 5149\u003cbr\u003e Matrix nos. ARL 2903, ARL 2904\u003cbr\u003e\u003cbr\u003e Transfer and XR remastering by Peter Harrison at \u003cem\u003edisk2disc\u003c\/em\u003e, July 2008\u003cbr\u003e Cover artwork based on a photograph of Jean Martinon.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\n\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 38:36 \u003c\/span\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC118.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC118.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":34657827277,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34657827341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34657827405,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34657827469,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC118_66d27043-cbb4-4371-b4eb-b65d34320fa3.jpg?v=1490269649"},{"product_id":"pasc118-cd","title":"MARTINON Strauss: Le Beau Danube \u0026 Rossini: William Tell Ballet Music (1955) - PASC118 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478273101,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478273165,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC118_af62731c-ea99-4183-9cc2-f4ecf228a722.jpg?v=1658241473"},{"product_id":"pasc119","title":"TOSCANINI in Stereo: Rossini, Tchaikovsky, Wagner (1954) - PASC119","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to The Barber of Seville\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\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLohengrin - Prelude to Act 1\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\u003cspan style=\"font-size: 18px;\"\u003eGötterdämmerung - Dawn and Siegfried's Rhine Journey\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:52\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC 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;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis seems to me a necessary purchase for Toscanini fans578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere was definitely something wrong—or at least \ndifferent—about Toscanini in his last concerts. Winding down his long \ncareer, he started this last season two weeks late due to ill health \n(Pierre Monteux conducted those concerts), only beginning on November \n22, 1953, with his warmest, most relaxed, whimsical, almost nostalgic \nperformance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eEarly in 1954 he went through three grueling months in which he struggled to broadcast the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMefistofele\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Prologue and a complete performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUn ballo in maschera\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which cost him considerable angst in canceled and rescheduled \nrehearsals, replacing the lead tenor, and the performances themselves \n(which garnered uncharacteristically poor reviews as overloud and \nunsubtle). The story of his mini-stroke in the last, all-Wagner concert,\n while conducting the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture and Bacchanale, is well documented and has given an unfairly \nnegative slant to his better performances in that concert. Thus it was \nwith some trepidation that I approached my review of this disc, an \nall-new remastering of music from his stereo concerts, which have \nappeared previously on other labels (notably Music \u0026amp; Arts and Idis).\n   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMuch to my surprise, this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBarbiere di Siviglia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture is relaxed, warm, and quite genial. Hornist Harry Berv has his\n hand too far into the bell for his soft solo, a style popular at the \ntime that is no longer in use. And the sound of the orchestra? Amazingly\n quite warm, not at all what you’d expect from the harsher, shriller \nmono recordings of the NBC Symphony.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut it is in the Tchaikovsky “Pathetique” that \nreal differences surface. Perhaps it’s because I was raised on his 1947 \nrecording of this symphony and, later, on the superior 1942 Philadelphia\n Orchestra version, but I miss the point-to-point continuity, drama, and\n sweep of those earlier readings. The virtuosic third movement is not \nquite as dazzling as his previous versions. This is slower, more pensive\n Tchaikovsky, almost depressed in its feeling, particularly in the final\n movement, which is nearly a minute and a half longer than his \nPhiladelphia recording. Perhaps this really does mirror Toscanini’s mood\n at the time; and yet, though it may not be his best version, it’s hard \nfor me to recall another stereo performance that is its superior.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI’ve said in other venues that the final \nall-Wagner concert wasn’t as bad as has been made out, with two \nexceptions. The “Forest Murmurs” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e completely lacked continuity and flow, and in the Prologue from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGötterdämmerung \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n orchestra sounded a little rough (Berv cracks a high note and trumpeter\n Harry Glantz is tight and shrill), in addition to some slack playing. \nIn relistening, however, I found the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGötterdämmerung\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e valid as a slower, more pensive reading, less exultant in celebrating the lovers’ tryst than foreshadowing Valhalla’s doom.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eProducer Andrew Rose states on his Web site that \nthe early stereo separation as well as the tight miking of these \nconcerts was “an uncomfortable listen.” I never really felt that way \nabout the Wagner concert, and in fact I was concerned coming into this \nthat I wouldn’t approve of his spreading the tone across the middle. I \nfelt it would distort Toscanini’s characteristic orchestral tone, make \nit too glossy and artificial, and the sweetness of the strings in the \nRossini worried me a little. Yet there are official, mono recordings of \nthe orchestra in which the strings are almost as sweet; it depended on \nToscanini’s mood regarding that particular piece of music. I did an A-B \ncomparison of the Music \u0026amp; Arts pressing of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Prelude with this one. I can confirm that Toscanini’s sound is not \ncompromised, and in fact the sound is much more natural. On the Music \n\u0026amp; Arts CD, after the opening chord, the first violins emerge from \nthe left speaker only, while from the right one hears an undercurrent of\n tape rumble. In this version, the “hole” in the middle is covered quite\n ingeniously and the tape sound is gone; yet everything is still crystal\n clear, even the sharply attacked cymbal stroke at 6:41.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe reprocessing of this or any Toscanini \nrecording is a major bone of contention between the conductor’s rabid \nfans on one hand and millions of other classical music listeners on the \nother. Toscanini favored a dry acoustic during his performing days \nbecause it allowed listeners to hear each individual strand of the \norchestra as he heard it on the podium. In his two years of retirement, \nhowever, he came to dislike the sound of his own records—except for his \nalbum of Rossini overtures, which had quite a bit of ambient hall sound.\n The reason for this may be found in any well-documented study of \nlistening to music on radio or records. Prolonged listening to \nimproperly balanced or excessive dry recordings causes listening fatigue\n that takes pleasure out of the listening experience. Moreover, in \nclassical music, the lack of resonance conflicts with the natural sound \nspectrum that otherwise “binds” musical phrases via instrumental \novertones and sonic decay in a live acoustic setting. It is exactly \nthese overtones and decay time that Andrew Rose has restored, and it is \nexactly these which many Toscanini adherents find revolting, \ndistasteful, and (in their view) dishonest reproduction.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe final verdict, of course, is up to you. Writing of the Idis release of these recordings in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAll Music Guide, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eBlair\n Sanderson said that because of the “unnaturally dry and airless” sound,\n “one needs to be enthusiastic for Toscanini’s legendary interpretations\n to get past these audio obstacles.” That is not the case here. This \nseems to me a necessary purchase for Toscanini fans, but even a good \nchoice for those who thought his earlier readings too tense or too fast.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 32:3 (Jan\/Feb 2009) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC119.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003eAlthough all of these recording have been available either commercially or through private channels for some time, they have always failed to live up to their sonic potential. Well aware that stereo was the coming thing, Victor engineers arranged for what were to be Toscanini's final two concerts to be recorded in \"stereo\" - i.e. on two tape channels.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eWhy the inverted commas? Well, when you hear the sound they produced it is most certainly coming out of two speakers, but it's not a particularly pleasant listen, and fails to capture any of the sense of perspective or width that one would expect to find in a stereo orchestral recording. It sounds like the microphone positioning is exceptionally close, and there's nothing of the acoustic of Carnegie Hall to be heard at all. At times the soundstage is overly wide and disconnected, the sound itself hard and harsh - an uncomfortable listen. This was greatly ameliorated by the re-equalisation part of the XR processing, but still the sound was flat and \"in your face\".\u003c\/p\u003e\u003cp\u003eIn continuing this restoration, therefore, I soon realised that what it would need might go beyond the bounds of my previous work. I acquired new software for stereo ambience processing, allowing me to extract any hall reverberation present in the recording and enhance it, effectively pushing the orchestra \"back\" with respect to the ambient sound around it, but this remarkable software does not generate reverberation, working only with what it can extract from the recording itself. Here there was just about nothing to be had, and with some reluctance I applied a judicious amount of digital reverberation - just enough to give some space around the instruments.\u003c\/p\u003e\u003cp\u003eI then returned to the stereo ambience processor, and was able to find a much better spacial balance between the orchestra and its space, narrowing the stereo field slightly for the direct sound, whilst retaining a broader soundstage for the reverberation, and effectively moving the orchestra back a few steps - whilst retaining the clarity and punch of Toscanini's sound.\u003c\/p\u003e\u003cp\u003eI believe this recording may now come closer than almost any other in capturing the kind of sound one might have heard at a Toscanini concert in Carnegie Hall (though I'm sure if you were seated at the back of the hall it would be far more reverberant that this!). It is a great pity that so many of his finest performances have been available in poor quality sound, but here, at the very end of his exceptionally long conducting career, we may finally hear more clearly than before the true sound of the maestro at work.\n\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003cbr\u003e\u003c\/i\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eNB. \u003cem\u003eA section of nearly 2 minutes at the end of the third movement of Tchaikovsky's 6th Symphony has been dubbed into this recording from an inferior secondary source following the loss of this from the original master tapes. I have endeavoured to match as well as possible the sound quality of this to that of the rest of the recording, but there is some loss of clarity and some higher background noise levels to be heard here.\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nToscanini's Penultimate Concert, 21st March, 1954 (complete):\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eRossini\u003c\/strong\u003e: Overture to The Barber of Seville\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eTchaikovsky\u003c\/strong\u003e: Symphony No. 6 \"Pathétique\" in B minor, Op. 74\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\nToscanini's Final Concert, 4th April, 1954 (\u003cem\u003epart\u003c\/em\u003e):\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWagner\u003c\/strong\u003e: Lohengrin - Prelude to Act 1\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWagner\u003c\/strong\u003e: Götterdämmerung - Dawn and Siegfried's Rhine Journey\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eRecorded live at Carnegie Hall on 21st March and 3rd April, 1954\u003cbr\u003e These experimental stereo recordings were made by Victor\u003cbr\u003e\u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, July-August 2008\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\n\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 74:52\u003c\/span\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC119.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC119.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34658163213,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34658163277,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34658163341,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC119.jpg?v=1490270125"},{"product_id":"pasc119-cd","title":"TOSCANINI in Stereo: Rossini, Tchaikovsky, Wagner (1954) - PASC119 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478273741,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478273805,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC119_208b865b-e814-424c-98d3-7c58cfe064cd.jpg?v=1658241492"},{"product_id":"pasc166","title":"CANTELLI NBC Concert No. 31: Rossini and Tchaikovsky (1953) - PASC166","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to The Siege of Corinth\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\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e, 'Pathétique'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1953\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 53:46 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC 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;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHere is yet another treasure trove of Cantelli material578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e[\u003ci\u003eexcerpt from review round-up of Pristine's Cantelli\u003c\/i\u003e]\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remaining three discs are each devoted to \ncomplete Cantelli broadcasts—his 19th, 30th, and 31st appearances with \nthe NBC Symphony Orchestra. The symphonies therein represented—the \nBrahms Third, Schubert “Unfinished” (a typographical error on the cover \ngives the key as A Minor rather than B Minor), and Tchaikovsky \n“Pathétique”—were all recorded commercially by Cantelli with the \nPhilharmonia Orchestra in 1953, 1955, and 1952, respectively. The \nwonderfully textured live concert performance of the Brahms is, well, \nmore \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ealive\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e than \nthe still beautiful studio recording; the live Schubert is likewise \npreferable to the studio account, particularly in the broadcast \nperformance’s more forward-pressing second movement; and the \nTchaikovsky, given the live context, ultimately, and perhaps \nnecessarily, feels more exciting, deeply probing, and better integrated \nthan the very fine studio account, which was recorded over the course of\n five days.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performances of the Wagner and Rossini \novertures are both gripping and exciting; each of these works also \nexists in other Cantelli-led accounts, including a 1949 commercial \nrecording of the Rossini with the Santa Cecilia Orchestra, and a 1949 \nNBC broadcast of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRienzi\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that is less well controlled and integrated than the present 1953 \nbroadcast. Roussel’s Sinfonietta for string orchestra and Britten’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSinfonia da Requiem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n represent works that received hardly any performances under Cantelli’s \nbaton; each is the conductor’s sole preserved account. His only other \nperformance of the Roussel was in 1946, with the Orchestra da Camera in \nMilan. Besides this 1953 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSinfonia da Requiem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n broadcast—an intensely dramatic and probing account that makes one wish\n he’d had time to lead more of Britten’s music—he also led the work in \n1952 with the La Scala Orchestra and in 1956 with the New York \nPhilharmonic. (An aside: though seemingly unavailable as I write, \nanother 20th-century work particularly worth seeking in its sole \nCantelli recording—in fact his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eonly\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e performance of it, from a 1953 NBC broadcast—is Barber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchool for Scandal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture, a non-traditionally spacious, individual rendition that \nnevertheless proves convincing, meaningful, and important.) Berlioz’s \n“Rákóczi March” figured in Cantelli’s repertoire mainly as an encore \npiece; this, his only preserved performance, actually comes across \nbetter in its cleaner, less congested Music \u0026amp; Arts transfer (perhaps\n a function of the source material)—the only instance where I found \nPristine’s version not at least equal to, or better than, earlier \nreleases. For instance, I heard no meaningful difference when comparing \nthe Brahms Symphony No. 3 on Pristine to the same performance as heard \nin the aforementioned 12-disc Music \u0026amp; Arts set.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSo, in sum, here is yet another treasure trove of \nCantelli material that should surely be of interest to those already \ninitiated, as well as (one can always hope) to anyone not yet familiar \nwith the conductor’s work. All of Pristine’s releases are available \neither as downloads or CDs via Pristine’s Web site, \nwww.pristineclassical.com. Finally, let me again mention Keith Bennett’s\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGuido Cantelli: Just Eight Years of Fame\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which is now the prime source for detailed information on Cantelli’s \nconcerts and recordings, with much else about his life besides. (For \nfurther info on that, e-mail gcpublishers@keithbennett.waitrose.com.) It\n doesn’t come cheap, but its value to collectors is not to be \nquestioned. And drawing upon his work for that book, Bennett is now \nproviding the notes for Pristine’s latest Cantelli releases, including, \nof those discussed here, the conductor’s 19th, 30th, and 31st NBC \nconcerts and Mozart Requiem. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMarc Mandel  \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 33:3 (Jan\/Feb 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\/PASC166.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe complete Carnegie Hall concert in superb sound\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFirst in a new series of Cantelli NBC concerts\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\nKeith Bennett, whose new book \u003cem\u003eGuido Cantelli - Just Eight Years Of Fame\u003c\/em\u003e is published to co-incide with this release, was my introduction to the short-lived musical world of Guido Cantelli. His ceaseless championing of Cantelli has resulted in a number of releases on various record labels including Pristine, and it's now an immense pleasure to be able to delve into Keith's extensive and meticulously- maintained collection of rare taped recordings for this new series of issues.\n\u003cp class=\"body\"\u003eEach one will take the music from a complete concert broadcast by NBC from Carnegie Hall in the early-to-mid 1950s, with the NBC Symphony Orchestra conducted by Cantelli. Sonically these are a huge improvement over the many concerts the orchestra gave in NBC Studio 8H under Toscanini, Cantelli and others - the Hall's acoustics are of course excellent, and as listeners we also benefit from ever-improving microphone and recording technologies.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn remastering I've dealt with the inevitable tape hiss, and also some mild tonal imbalances characteristic of older recordings - XR remastering identifies and remedies many of the imperfections of older microphones. I've also worked to reduce or remove a number of audience coughs and sneezes, using the latest digital spectral repair technology to avoid damage to the musical content. The result is a fine-sounding representation of Cantelli in concert - clear and full-bodied, brilliantly conveying Cantelli and the orchestra's attention to both fine detail and overall musical impression.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eOverture to The Siege of Corinth\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 6\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e in B minor, 'Pathétique'\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Guido Cantelli\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eCarnegie Hall, New York, \u003cbr\u003e Saturday 21st February, 1953\u003cbr\u003e \u003cbr\u003e Transfer tape from the collection of Keith Bennett\u003cbr\u003e  Transfer and XR remastering by Andrew Rose at Pristine Audio, May 2009\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 53:46 \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\/PASC166.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC166.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003eCantelli's NBC Concert No. 31 - 21st February 1953\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003enotes by Keith Bennett\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eRossini: Overture – Le siège de Corinthe\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCommentators often refer to Guido \nCantelli’s good taste but there are a few occasions when that attribute \ndeserts the conductor. Such instances which come to mind are the \nsaccharine arrangement by Molinari of the \u003cstrong\u003eLargo \u003c\/strong\u003efrom Handel’s \u003cstrong\u003eXerxes \u003c\/strong\u003eand Wagner’s\u003cstrong\u003e \u003c\/strong\u003eoverture to\u003cstrong\u003e Rienzi \u003c\/strong\u003eand\n to those could be added this overture by Rossini. This is a potboiler \nof an overture (and that is being charitable – some have deemed it \ntrashy fifth-rate music) which Cantelli included in his first appearance\n with the Orchestra della Scala at an open air concert on 27 July 1945 \nand he gave 32 performances in all (the only Rossini overture to be \nprogrammed more often was Semiramide). After the solemn opening it \nrapidly deteriorates in musical substance and becomes merely \nrumbustious. Small wonder that Toscanini did not share his younger \ncolleague’s enthusiasm: he gave a couple of performances with the \nPhilharmonic-Symphony Orchestra of New York in 1931 but none were \nprogrammed with the NBC Symphony Orchestra although he did make the \nstudio recording. Cantelli’s performances with the NBC Symphony \nOrchestra (there was another with the orchestra on 1 January 1951) \neasily outclass his commercial recording with the Orchestra Stabile \ndell’Accademia Nazionale di Santa Cecilia both in terms of performance \nand actual recording quality. But what a pity that the Cantelli \nperformance of \u003cstrong\u003eL’italiana in Algeri \u003c\/strong\u003eon 7 April 1954\u003cstrong\u003e \u003c\/strong\u003ewas not broadcast to add to the conductor’s discography.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003eTchaikovsky: Symphony in B minor, No.6, Op.74, \u003cem\u003ePathétique\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThere are instances when the tragedy of \nCantelli’s brief career registers with overwhelming force and this is \none of them. Cantelli performed this symphony on just six occasions and \nit is worth a moment’s thought that Karajan made more commercial \nrecordings of this symphony (seven) than Cantelli gave actual \nperformances. Cantelli first conducted the symphony on 27 July 1945 at \nan open air concert during his first appearance with the Orchestra della\n Scala and his last was this performance with the NBC Symphony Orchestra\n on 21 February 1953 on this CD. His previous concert performance was \nwith the Philharmonia Orchestra on 14 October 1952 which was followed by\n four three-hour session on 24, 28 and 30 October for the commercial \nrecording. As might be expected, with so short an interval between the \ncommercial recording in London and the concert performance in New York, \nthere is little to choose between them.\u003cem\u003e. \u003c\/em\u003eCantelli fully \nunderstands the emotional implications of the score which he conveys \nwithout resorting to exaggerations: the demands of expressiveness are \nmet without hysteria, tempi are well-judged in all four movements, and \nthe harrowing despair of the final movement is admirably portrayed. All \nthis is true of the live performance with the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 510px;\" cellspacing=\"0\" cellpadding=\"7\" align=\"center\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"182\"\u003e \u003ccol width=\"118\"\u003e \u003ccol width=\"34\"\u003e \u003ccol width=\"28\"\u003e \u003ccol width=\"28\"\u003e \u003ccol width=\"34\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003eCantelli\/Philharmonia Orchestra (EMI)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003e24, 28 \u0026amp; 30 October 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e15:59\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e7:54\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e9:02\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e8:58\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003eCantelli\/Philharmonia Orchestra (Testament)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003editto\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e16:11\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e8:00\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e9:08\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e9:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"bodybigblue\" valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orch\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e21 February 1953\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e16:30\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e7:53\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e9:29\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e8:51\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eToscanini\/NBC Symphony Orch\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e29 October 1938\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e16:55\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e6:35\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e8:06\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e9:00\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eToscanini\/NBC Symphony Orch\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e19 April 1941\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e16:42\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e6:36\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e8:05\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e9:20\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003eToscanini\/Philadelphia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003e8 February 1942\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e16:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e7:59\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e8:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e9:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003eToscanini\/NBC Symphony Orch\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003e24 November 1947\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e16:11\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e7:19\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e8:42\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e9:00\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"182\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eToscanini\/NBC Symphony Orch\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"118\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e21 March 1954\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e17:38\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e8:18\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"28\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e9:32\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e10:29\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eHowever, the writer would like to make \nsome reference to Toscanini’s concert performances with the NBC \nSymphonyOrchestra. Some commentators have expressed the view that \nCantelli was a Toscanini clone and when it comes to the two works of \nTchaikovskythat the Maestro and Cantelli both performed – this symphony \nand the \u003cstrong\u003eRomeo and Juliet Fantasy Overture \u003c\/strong\u003e– one can \nunderstand how that assessment came into being because the performances \nare remarkably similar, both purge the compositions of exaggeration and \nsentimentality, which is definitely preferable to those performances \nwith over-stated dynamics coupled with inappropriate over-romanticizing.\n But readers should also remember that Toscanini thought Tchaikovsky’s \u003cstrong\u003eSymphony No.5 \u003c\/strong\u003ewas\n banal and this was a work for which Harris Goldsmith coined the \nexpression of Cantelli’s ‘calling cards’ (he performed it on 28 \noccasions). Would a clone have done that in view of his mentor’s \nstrongly held view?\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003e© Keith Bennett 2009\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eKeith Bennett is the author of \u003cstrong\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/strong\u003e(published\n 2009) which is only available from GC Publishers. For further details \neither write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \nSuffolk IP12 4UL, UK or e-mail \u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":35871993933,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205579620686,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205579653454,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205579686222,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC166.jpg?v=1492002063"},{"product_id":"pasc166-cd","title":"CANTELLI NBC Concert No. 31: Rossini and Tchaikovsky (1953) - PASC166 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478313741,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205579587918,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC166_3ad54d07-ed2b-44c7-b1f4-87c595ac2752.jpg?v=1658242705"},{"product_id":"pasc064","title":"FASANO Rare Italian Baroque \u0026 Classical Music (1954) - PASC064","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e2 Vio\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003elins, Cello and Double Bass Sonata No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMAR\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCELLO \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOboe Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCAMBINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBONPORTI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRecitative for Violin and Strings\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eReco\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003er\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eded in 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration 37:58\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRenato Zanfini, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eoboe\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrnella Puliti Santoliquido, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Mozzato, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVirtuosi di Roma\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDirector: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRenato Fasano\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC064.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eOf the four composers represented in this remarkable collection, only Rossini (1792-1868) can be considered well known, and for this we have his operas to thank. Of the rest, we find a handful of renditions of the Marcello (1684-1750) in the catalogue, one of the Cambini (1746-1825), and nothing tha resembles the Bonporti (1672-1749). However, in its arrangement by the composer Alfredo Casella for small chamber orchestra, in this case the fourteen members of Virtuosi di Roma, we have a particularly rare rendition of Rossini's Sonata, rendered in at times quite piercing near-Baroque style.\u003c\/p\u003e\u003cp\u003eRare though the music may be, and obscure some of these composers, there is music of real beauty to be found in this collection. It was the recordings of Trio Santoliquido which drew me first to Virtuosi di Roma - all three members of that Trio also appear on this recording. The ensemble was the vision of composer, pianist, musicologist and conductor, Renato Fasano, who assembled what he regarded as the finest Italian instrumentalists of the day, and \"fired them with what was then still a dream\", according to the LP's sleevenotes. \"After a long period of discussion, rehearsal, and endless sifting of musical masterworks, the group finally made its debut, and the dream was realised even beyond Maestro Fasano's expectations.\"\u003c\/p\u003e\u003cp\u003eSleevenote hyperbole, maybe, but these recordings were certainly very well received - of the four represented in the 1955 edition of The Record Guide, three LPs (including this) receive the ultimate double-star accolade, with the fourth receiving a single star. Referring to the latter LP, of 18th century music for strings, the guide comments: \"The Virtuosi di Roma specialise in this sort of thing, and do it very well.\" Perhaps with their star system they didn't feel the need to state that on this disc they did it even better... \n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSonata for 2 Violins, Cello and Double Bass No. 3 in C\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMARCELLO \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eConcerto in C minor for Oboe and Strings \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eRenato Zanfini\u003c\/b\u003e, oboe\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCAMBINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eConcerto No. 3 in G major for Piano and Strings\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eOrnella Puliti Santoliquido\u003c\/b\u003e, piano\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBONPORTI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRecitative for Violin and Strings\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eGuido Mozzato\u003c\/b\u003e, violin\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVirtuosi di Roma\u003cbr\u003e \u003c\/b\u003eDirector: \u003cb\u003eRenato Fasano\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1954, released as US Decca 9674\u003cbr\u003e \u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 37:58\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\/PASC064.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC064.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":36264670989,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC064.jpg?v=1492684314"},{"product_id":"pasc064-cd","title":"FASANO Rare Italian Baroque \u0026 Classical Music (1954) - PASC064 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478394381,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205564023118,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC064_a821db5f-3720-49e6-a091-d8396a6a5e35.jpg?v=1657717908"},{"product_id":"pasc559","title":"GIULINI in Boston: Dvořák, Haydn, Rossini, Tchaikovsky (1962, stereo) - PASC559","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 94, \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"Surprise\" \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. 2, \"Little Russian\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eL'italiana in Algeri - Overture \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9, \"From the New World\" \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo broadcast recordings, 1962\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  1hr 52:52\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston 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;\"\u003eCarlo Maria Giulini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fGiulini delivers bracing tempos; the Presto finale is as exhilarating as ever, with this magnificent orchestra in total command of every twist and turn578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe 1962 Boston Symphony was the Rolls Royce of \norchestras, purring along in high gear. The silky violins maintained \nfull tone from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epp\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eff\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n never screeching, never drying. They were a perfect match with Carlo \nMaria Giulini’s gentle touch, sounding very different here from Charles \nMunch’s high-wire explosions. There’s much of Beecham’s bounce and \nelegance in the Haydn symphony; “Papa Haydn,” perhaps? A touch (the \n“Surprise” is the symphony most prone to such sentiment), but the \nperformance is so beautiful we cannot complain. The only surprise is the\n “Surprise” chord itself, drawn out rather than clipped, which lessens \nits potency. The main signs of 1960s performance practice are \nsoft-headed timpani and retards at cadential points. I suspect this is \nthe full BSO, yet its strings are so smooth and subtle that winds are \nalways given suitable prominence. The acoustic of Symphony Hall is \ngorgeous, if a touch reverberant—so are all the great halls. Giulini \ndelivers bracing tempos; the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e finale is as exhilarating as ever, with this magnificent orchestra in total command of every twist and turn.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe silky purring continues into The “Little Russian” \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante sostenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, enough so to make one worry whether Giulini will lay bare all of Tchaikovsky’s drama. But he lets loose in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro vivo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with crisp, Munchian brass attacks and hard drumsticks. I’ve always \nbeen disappointed by the “Little Russian,” a series of beautiful ideas \nthat do not coalesce into a fine symphony; recent exposure (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 43:2) to all of Tchaikovsky’s operas has shown me how operatic this \nopening movement is. The Scherzo is taken at a slightly slower tempo \nthan usual, with a crisp military mien; its coda will knock your socks \noff. The entrance of the finale’s second theme is incredibly tender. The\n orchestra is not quite perfect in some places; perhaps Giulini was \nadlibbing beyond rehearsal, and this was his very first appearance with \nthe BSO. It remains a marvelous performance; with many interior details \nsubtly brought forth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe many oboe solos in\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e L’Italiani in Algeri\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n give us the opportunity to compare the Gomberg brothers: the BSO’s \nRalph is smooth and correct; the New York Philharmonic’s Harold is sweet\n and vivacious. Giulini—now on his home ground—leads a superbly subtle \nperformance, making Bernstein’s NYP seem loud and crass. One doubts that\n it ever went as well in Milan as in Boston. Yet the Philharmonic plays \neven more crisply for Bernstein, its excitement more than making up for \nthe lack of subtlety.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAfter all this magnificence, it’s a shock to hear a\n “New World” that just doesn’t work; there is much virtuoso playing \nthroughout, but it doesn’t add up to a satisfactory performance. The \nBSO’s sharp, bright French woodwinds are all wrong for Dvořák, \nespecially when compared to the cool, mellow winds of the Czech \nPhilharmonic. Perhaps that’s why the powers that be assigned Arthur \nFiedler to conduct the BSO’s only complete recording of the “New World.”\n Strings are recessed now, with too much attention paid to the winds \n(oddly, a brief viola passage in the finale stands out); Roger Voisin’s \nblazing first trumpet upsets many ensemble passages. Tempos are \nunsteady. The English horn solo in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is taken quite briskly (perhaps Giulini had seen the manuscript, where Dvořák first wrote \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, then crossed it out and wrote \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and finally \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e);\n late in the movement, Giulini suddenly slams on the brakes, catching \nthe orchestra off guard for a moment. The Scherzo goes well, but the \nfirst section of its Trio is heavy-handed, almost lugubrious.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine Audio’s 1962 stereo recordings are \nsuperb. They may not be as crystal clear and incisive as RCA’s Living \nStereo of that era, but they are warmer and sweeter. They represent the \nBoston Symphony I heard in the 1960s as well as any commercial \nrecordings. This is a valuable release, musically as well as \nhistorically. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames H. North  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 43:1 (Sept\/Oct 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC559.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\"Carlo Maria Giulini was born in 1914 in Barietta, an ancient and historic city on the Adriatic coast in the south of Italy. He studied at the Academy of Santa Cecilia in Rome, and took a course in conducting under Alfredo Casella, and later under Bernardino Molinari at the Chigi Academy in Siena. He was engaged by the Italian Radio (RIA) in 1946 and in 1950 became the conductor of the orchestra of Radio Milano.\u003cbr\u003e\u003cbr\u003eThrough the past nine years his principal activities have been with La Scala opera in Milan. The performances directed by him there include: Monteverdi’s L’Incoronazione di Poppea, Stravinsky’s Les Noces (in its first Italian stage performance), Bartók’s Bluebeard’s Castle, Rossini’s La Cenerentola, and L’Italiana in Algeri. He has conducted at numerous festivals throughout Europe. He made his American debut conducting the Chicago Orchestra in 1955, and returned to this country in the autumn of 1960 as conductor of the Israel Philharmonic Orchestra. Mr. Giulini is now conducting in Boston for the first time.\"\u003cbr\u003e\u003cbr\u003eFrom the \u003cb\u003eBSO programme notes\u003c\/b\u003e, March 1962\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eOf the major US orchestras, Giulini was most associated with the Chicago Symphony Orchestra. Following his 1955 debut he was its Principal Guest Conductor from 1969 to 1972, and continued to appear with them regularly until 1978. From 1978 to 1984, he served as principal conductor and Music Director of the Los Angeles Philharmonic.\u003cbr\u003e\u003cbr\u003eGiulini’s performances with the Boston Symphony Orchestra were, by contrast, somewhat few and far between. He conducted the orchestra in some twenty concerts in total: seven in March 1962, eight in October and November 1969 and a final five in March and April 1974. The recordings here represent all we’ve managed to find from his 1962 concert broadcasts thus far. Captured in fine stereo sound and perfectly preserved over the intervening years, they are truly magnificent performances. \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eGIULINI in Boston, 1962\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHAYDN  \u003c\/b\u003eSymphony No. 94 in G, Hob.I:94 \"Surprise\" \u003cbr\u003e1. 1st mvt. - Adagio cantabile - Vivace assai  (9:39)\u003cbr\u003e2. 2nd mvt. - Andante  (6:33)\u003cbr\u003e3. 3rd mvt. - Minuet - Trio  (4:18)\u003cbr\u003e4. 4th mvt. - Finale. [Presto]  (4:35)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e Symphony No. 2 in C minor, \"Little Russian\" \u003cbr\u003e5. 1st mvt. - Andante sostenuto – Allegro vivo  (11:07)\u003cbr\u003e6. 2nd mvt. - Andantino marziale quasi Moderato  (7:12)\u003cbr\u003e7. 3rd mvt. - Scherzo. Allegro molto vivace  (5:37)\u003cbr\u003e8. 4th mvt. - Finale. Moderato assai — Allegro vivo  (10:02)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cb\u003eROSSINI \u003c\/b\u003eL'italiana in Algeri - Overture  (8:56)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDVOŘÁK  \u003c\/b\u003eSymphony No. 9 in E minor, Op. 95, \"From the New World\" \u003cbr\u003e2. 1st mvt. - Adagio - Allegro molto  (9:37)\u003cbr\u003e3. 2nd mvt. - Largo  (13:14)\u003cbr\u003e4. 3rd mvt. - Molto vivace  (7:52)\u003cbr\u003e5. 4th mvt. - Allegro con fuoco  (14:10)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCarlo Maria Giulini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carlo Maria Giulini\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLive broadcast concerts:\u003c\/b\u003e\u003cbr\u003e2 March 1962 (Rossini, Tchaikovsky)\u003cbr\u003e9 March 1962 (Haydn, Dvořák)\u003cbr\u003e\u003cbr\u003eSymphony Hall, Boston\u003cbr\u003e\u003cbr\u003eTotal duration:  1hr 52:52\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC559.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC559.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":29438538842173,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205541970254,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205542003022,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC559_4ac12dc8-fe37-476c-a1c0-b3cb48917900.jpg?v=1563628384"},{"product_id":"pasc559-cd","title":"GIULINI in Boston: Dvořák, Haydn, Rossini, Tchaikovsky (1962, stereo) - 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Rosina\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDino Borgioli\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Il Conte d'Almaviva\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\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;\"\u003eLorenzo Molajoli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO161.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release is the first of two which will present both of the complete\nopera recordings of baritone Riccardo Stracciari. Rossini’s\u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e was recorded in 1929, and Verdi’s    \u003cem\u003eRigoletto\u003c\/em\u003e, with the same principal cast members and conductor,\n    followed the next year. Despite their importance, these sets have never\n    received satisfactory new transfers during the CD era, with the last\n    “official” transfer of \u003cem\u003eIl barbiere\u003c\/em\u003e from EMI having been made as\n    long ago as 1955 (reissued from those tapes for a 1979 LP edition).\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRiccardo Stracciari\u003c\/strong\u003e\n    (1875 - 1955) was born near Bologna and made his professional debut there\n    in 1899. He first sang at La Scala in 1904, and his international career\n    began the following year with appearances at Covent Garden in 1905 and the\n    Metropolitan Opera in 1906. He sang widely throughout Europe and the\n    Americas before retiring in 1944. He was best known for his portrayal of\n    Figaro in \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e, which he reportedly sang 1000\n    times, and for Rigoletto. No less an authority than Rosa Ponselle admired\n    his singing, and he is still considered one of the finest Italian baritones\n    of his era.\n\u003c\/p\u003e\n\u003cp\u003e\n    Coloratura \u003cstrong\u003eMercedes Capsir\u003c\/strong\u003e (1895 – 1969) was born in\n    Barcelona and made her debut in 1913 as Gilda in \u003cem\u003eRigoletto\u003c\/em\u003e. Her\n    Italian debut was as Rosina in \u003cem\u003eIl barbiere\u003c\/em\u003e, and she first appeared\n    at La Scala in 1924. In addition to her two recordings with Stracciari, she\n    also recorded \u003cem\u003eLa Traviata\u003c\/em\u003e and \u003cem\u003eLucia di Lammermoor \u003c\/em\u003eunder\n    Molajoli. She retired from performing in 1949.\n\u003c\/p\u003e\n\u003cp\u003e\nFlorence-born lyric \u003cem\u003etenore di grazie\u003c\/em\u003e    \u003cstrong\u003eDino Borgioli\u003c\/strong\u003e (1891 – 1960) was most associated with\n    Mozart and the \u003cem\u003ebel canto\u003c\/em\u003e roles of Rossini and Donizetti. He made\n    his debut in 1914, first sang at La Scala in 1918, toured Australia with\n    Melba in 1924, and appeared at Covent Garden the following year and, during\n    the 1930s, at the Glyndebourne Festival. He also sang in Paris, Salzburg,\n    San Francisco, Chicago and at the Metropolitan. Following his performing\n    career, he taught in London.\n\u003c\/p\u003e\n\u003cp\u003e\n    Little is known about conductor \u003cstrong\u003eLorenzo Molajoli\u003c\/strong\u003e (1868 –\n    1939) – so little, in fact, that until recently, it was thought by some\n    that he was another conductor working under a \u003cem\u003enom de disque\u003c\/em\u003e for\n    contractual purposes. His early career was spent conducting in the\n    Americas, South Africa and provincial Italian theatres. In 1926, he became\n    Italian Columbia’s house conductor, under which guise he recorded twenty\n    complete or abridged operas between 1928 and 1932. His tight control of the\n    ensemble (credited on the labels as the “Milan Symphony Orchestra”, but in\n    reality the La Scala forces) and fast tempi often produced dramatic and\n    exciting performances.\n\u003c\/p\u003e\n\u003cp\u003e\n    Even listeners without perfect pitch will note that the piano used to\n    accompany the recitatives in this recording was tuned much lower than the\n    orchestra, leading to some jarring transitions. I have chosen to leave\n    these differences as they were, so as not to falsify the original\n    recording. Likewise, I decided not to add artificial reverberation to the\n    very dry acoustic of the small studio in which the recording was made, so\n    as not to muffle the rapid-fire delivery of the recitatives.\n\u003c\/p\u003e\n\u003cp\u003e\n    Some textual issues require comment. In the “Lesson Scene”, Capsir sings an\n    adaptation she made of Mozart’s \u003cem\u003e12 Variations on “Je suis Lindor”\u003c\/em\u003e,\n    K354, which itself had been based on a theme composed by Antoine-Laurent\n    Baudron for Beaumarchais’ \u003cem\u003eLe Barbiere de Séville\u003c\/em\u003e, thus bringing it\n    full circle, as it were. The aria sung by Bartolo in Scene 2 of Act 1,\n    “Manca un foglio”, was written by Pietro Romani for an 1816 Florence\n    production as a substitute for Rossini’s original, “A un dottor della mia\n    sorte,” which presented some vocal difficulties. Romani’s interpolation\n    became accepted as canon over the years; but for this reissue, I have let\n    Baccaloni have the last word by appending his 1941 recording of the Rossini\n    original.\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 align=\"center\"\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eRossini\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\n    Il barbiere di Siviglia\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cb\u003eRiccardo Stracciari \u003c\/b\u003e\u003cem\u003ebaritone\u003c\/em\u003e (Figaro); \u003cb\u003eMercedes Capsir \u003c\/b\u003e   \u003cem\u003esoprano\u003c\/em\u003e (Rosina); \u003cb\u003eDino Borgioli\u003c\/b\u003e \u003cem\u003etenor\u003c\/em\u003e (Il Conte\nd'Almaviva); \u003cb\u003eSalvatore Baccaloni\u003c\/b\u003e \u003cem\u003ebass\u003c\/em\u003e (Bartolo); \u003cb\u003eVincenzo Bettoni    \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e (Basilio); \u003cb\u003eCesira Ferrari \u003c\/b\u003e\u003cem\u003esoprano\u003c\/em\u003e (Berta); \u003cb\u003eAttilio\n    Bordonali \u003c\/b\u003e\u003cem\u003ebaritone\u003c\/em\u003e (Fiorello); \u003cb\u003eAristide Baracchi\u003c\/b\u003e \u003cem\u003ebass\u003c\/em\u003e (An\n    Officer)\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n    Chorus and Orchestra of La Scala, Milan (Vittore Veneziani, chorus master)\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n    \u003cb\u003eLorenzo Molajoli\u003c\/b\u003e, conductor\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCD 1 \u003cspan style=\"font-size: 14px;\"\u003e(64:49)\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. Overture (6:50)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 1, Scene 1\u003c\/strong\u003e\u003cbr\u003e2. Piano, pianissimo (3:06)\u003cbr\u003e3. Ecco, ridente in cielo (5:27)\u003cbr\u003e4. Mille grazie, mio signore (2:19)\u003cbr\u003e5. Largo al factotum (7:32)\u003cbr\u003e6. Se il mio nome saper voi bramate (4:30)\u003cbr\u003e7. All’idea di quel metallo (7:43)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eAct 1, Scene 2\u003c\/strong\u003e\u003cbr\u003e8. Una voce poco fa (11:00)\u003cbr\u003e9. La calunnia è un venticello (6:19)\u003cbr\u003e10. Dunque io son (6:12)\u003cbr\u003e11. Manca un foglio (3:52)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCD 2 \u003cspan style=\"font-size: 14px;\"\u003e(61:02)\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. Finora in questa camera (0:30)\u003cbr\u003e2. Ehi, di casa, buona gente (7:33)\u003cbr\u003e3. Che cosa accadde, signori miei (4:00)\u003cbr\u003e4. Fredda ed immobile (2:58)\u003cbr\u003e5. Ma signor . . . ma un dottor (4:25)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 2\u003c\/strong\u003e\u003cbr\u003e6. Ma vedi il mio destino! (0:33)\u003cbr\u003e7. Pace e gioia sia con voi (3:50)\u003cbr\u003e8. Un verde praticel pien di bei fiori (4:25)\u003cbr\u003e9. Quando mi sei vicina (3:27)\u003cbr\u003e10. Don Basilio! . . . Cosa veggo! (4:08)\u003cbr\u003e11. Buona sera, mio signore (5:33)\u003cbr\u003e12. Il vecchiotto cerca moglie (2:39)\u003cbr\u003e13. Temporale (3:59)\u003cbr\u003e14. Ah, qual colpo inaspettato! (7:13)\u003cbr\u003e15. Di sì felice innesto (1:13)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 21 November 1927 (Overture) \u0026amp; 24 June – 5 July 1929 in Milan\u003cbr\u003eMatrix nos.: WBX 204\/5 (Overture) and WBX 605\/8, 610\/7 \u0026amp; 620\/36\u003cbr\u003eFirst issued on Italian Columbia D 14564\/79\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eMatrix and take number detail in order of presentation:\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eOverture: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 204-2, 205-1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 1, Scene 1:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 605-2, 606-1, 626-2, 615-3, 636-2, 613-1, 607-2, 608-2\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 1, Scene 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 610-2, 614-2, 625-2, 611-3, 628-2, 629-2, 631-4, 620-2, 621-2, 633-2,\n    634-2, 632-1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 630-2, 617-1, 635-1, 622-1, 623-2, 624-1, 616-2, 612-1, 627-1\n\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cem\u003eAppendix\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e16. A un dottor della mia sorte (4:32)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eSalvatore Baccaloni \u003c\/strong\u003e\n    \u003cem\u003ebass\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003eOrchestra conducted by Erich Leinsdorf\u003c\/strong\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003eRecorded 6 February 1941 in Liederkranz Hall, New York City\u003cbr\u003eMatrix: XCO 29731 ∙ First issued on American Columbia 71193-D\n\n\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\n\n\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\/PACO161.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO161.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":30605388939325,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205539414350,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO161.jpg?v=1570803829"},{"product_id":"paco161-cd","title":"RICCARDO STRACCIARI in Rossini's Il barbiere di Siviglia (1929) - 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PASC588","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\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. 5\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUKAS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’apprenti sorcier\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eOvertures and excerpts:\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLUCK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrfeo ed Eurydice\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Midsummer Night’s Dream\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl barbiere di Siviglia\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’Italiana in Algeri\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSemiramide\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa traviata\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and Live recordings, 1926-36\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 24:19\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic 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;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC588.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The present release completes Pristine’s survey of Arturo Toscanini’s\n    recordings with the Philharmonic-Symphony Orchestra of New York begun with\n    \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc575\"\u003ePASC 575\u003c\/a\u003e, featuring every take published on 78 rpm as well as several items\n    never released in that format. This volume presents a take of the Prelude\n    to Act 3 of Verdi’s \u003cem\u003eLa Traviata\u003c\/em\u003e which has not been available since\n    the shellac era, as well as the first release of the finale of the\n    Beethoven Fifth Symphony from an otherwise unissued live performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    Toscanini’s first recordings with the ensemble then known as the New York\n    Philharmonic were made during his earliest appearances as guest conductor\n    in 1926. The Brunswick label assembled 74 players from the orchestra in a\n    small venue (unidentified on the ledgers, but said to be the fifth-floor\n    Chapter Room within Carnegie Hall) to record two excerpts from\n    Mendelssohn’s incidental music for \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e using\n    their proprietary “Light-Ray” electrical process. The resulting sound was\n    clear (even preserving a player’s cough during the Scherzo), if a bit\n    overloaded at climaxes.\n\u003c\/p\u003e\n\u003cp\u003e\n    Three years later, Toscanini, who was now co-conductor of the orchestra\n    which had in the interim been merged with Damrosch’s New York Symphony,\n    revisited the Mendelssohn Scherzo to produce a supercharged reading which\n    shaved a half-minute off his earlier running time for this short piece, a\nclear demonstration of the virtuoso ensemble he had honed. A    \u003cem\u003eSorceror’s Apprentice\u003c\/em\u003e recorded during these later sessions had a\n    similar breathless excitement; yet the broader tempi and more elastic\n    phrasing that characterized the Maestro’s conducting style during this\n    period was well documented in his recordings of the \u003cem\u003eOrfeo\u003c\/em\u003e Dance,\n    the two \u003cem\u003eTraviata\u003c\/em\u003e Preludes, and the \u003cem\u003eBarber of Seville\u003c\/em\u003e\n    Overture.\n\u003c\/p\u003e\n\u003cp\u003e\n    A word is in order at this point about the alternate takes. In the early\n    days of electrical recording, it was common for the Victor label to make at\n    least three takes of each side. One would be chosen as the master, with the\n    others marked to be held or destroyed. During the early 1940s, Victor\n    replaced the originally-issued takes on many of its best-selling recordings\n    due to wear on the metal mothers which were used to grow new stampers.\n    Several Toscanini recordings experienced substitutions of this nature, some\n    (as seen in this volume) having more than one alternate take published.\n    While the alternates are usually fairly similar to the originally-published\n    versions, some noticeable differences occasionally appear.\n\u003c\/p\u003e\n\u003cp\u003e\n    After frustrating experiences in 1929 with the frequent stops and starts of\n    recording on limited-duration 78s, Toscanini vowed never again to make\n    records. Victor, however, was keen on preserving his interpretation of the\n    Beethoven Fifth Symphony. In March of 1931, two live performances were each\n    recorded directly onto nine 78 rpm matrices. The first attempt was deemed\n    unusable, and the second was subjected to sonically-compromising dubbings\n    for all but the last two sides. The end of the first matrix was further\n    degraded with a muffled-sounding insert from the first performance. Not\n    surprisingly, it was rejected by Toscanini. Modern restoration tools have\n    allowed this performance finally to be heard without special pleading for\n    the sound, while the concluding side from the earlier performance is\n    presented here for the first time.\n\u003c\/p\u003e\n\u003cp\u003e\n    Toward the end of his final season as music director of the Philharmonic in\n    1936, RCA was able to reach a compromise with the Maestro. Recordings would\n    be made during studio sessions, which would allow for retakes; but they\n    would be taken down without fully stopping after each side. Instead, at\n    pre-arranged points in the score, the conductor would pause momentarily\nwhile the next side was begun on a second cutter. The overtures to    \u003cem\u003eL’Italiana in Algeri\u003c\/em\u003e and \u003cem\u003eSemiramide\u003c\/em\u003e were done in this\n    manner, preserving the forward momentum of a live performance in vivid,\n    almost high fidelity sound. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003e\n\u003cspan style=\"font-size: 24px;\"\u003eArturo Toscanini and the Philharmonic-Symphony Orchestra of New York\n    \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eComplete Recordings ∙ 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\u003cbr\u003e\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 (67:06)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eGLUCK: Orfeo ed Eurydice\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1.  Dance of the Blessed Spirits (\u003ci\u003eoriginally issued\n    Take 4\u003c\/i\u003e) (5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrix: CVE 48956-4. First issued on Victor\n    7138 in album M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    2. Dance of the Blessed Spirits (\u003ci\u003efirst substitute Take 1\u003c\/i\u003e) (4:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 April 1929 ∙ Matrix: CVE 48956-1. First issued on Victor 7138 in\n    album M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. Dance of the Blessed Spirits (\u003ci\u003esecond substitute Take 3\u003c\/i\u003e) (4:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 April 1929 ∙ Matrix: CVE 48956-3. First issued on Victor 7138 in\n    album M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBEETHOVEN: Symphony No. 5 in C minor, Op. 67\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt.: Allegro con brio (6:16)\u003cbr\u003e5. 2nd Mvt.: Andante con moto (9:59)\u003cbr\u003e6. 3rd Mvt.: Allegro (4:58)\u003cbr\u003e7. 4th Mvt.: Allegro (9:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live 6 March 1931 ∙ Matrices: CVE 67520-1R, 67521-2R, 67522-1R,\n    67523-1R, 67524-2R, 67525-2R, 67526-1R, 67527-2 and 67528-2 ∙ Unissued on\n    78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. 4th Mvt.: Allegro - conclusion (3:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live 4 March 1931 ∙ Matrix: CVE 67528-1 ∙ \u003cb\u003ePreviously unpublished\n\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    9. No. 1 - Scherzo (4:49)\u003cbr\u003e10. No. 7 - Nocturne (5:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 February 1926 ∙ Matrices: XE 17797 and between 17798 and 17801 ∙\n    First issued on Brunswick 50074\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    11. No. 1 - Scherzo (\u003ci\u003eoriginally issued\n    Take 3\u003c\/i\u003e) (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 March 1929 ∙ Matrix: CVE 48948-3 ∙ First issued on Victor 7080\n    in album M-57\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    12. No. 1 - Scherzo (\u003ci\u003esubstitute Take 1\u003c\/i\u003e)\n    (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 March 1929 ∙ Matrix: CVE 48948-1 ∙ First issued on Victor 7080\n    in album M-57\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (77:14)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eROSSINI: Il barbiere di Siviglia\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Overture (\u003ci\u003eoriginally issued Take 3 for first side\u003c\/i\u003e) (7:30)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-3 and 56803-3 ∙ First\n    issued on Victor 7255\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    2. Overture (\u003ci\u003efirst substitute Take 4 for first side\u003c\/i\u003e) (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-4 and 56803-3 ∙ First\n    issued on Victor 7255\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. Overture (\u003ci\u003esecond substitute Take 2 for first side\u003c\/i\u003e) (7:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-2 and 56803-3 ∙ First\n    issued on RCA Victor 11-9229 in album M-1063\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eROSSINI: L’Italiana in Algeri\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    4. Overture (7:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 April 1936 ∙ Matrices: CS 101218-1 and 101219-1 ∙ First issued\n    on Victor 14161\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eROSSINI: Semiramide\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    5. Overture (12:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 April 1936 ∙ Matrices: CS 101214-1, 101215-1, 101216-1 and\n    101217-1 ∙ First issued on Victor 14632\/3 in album M-408\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERDI: La traviata\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    6. Prelude to Act 1 (3:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrix: CVE 48936-3 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    7. Prelude to Act 3 (\u003ci\u003eoriginally issued Take 4\u003c\/i\u003e) (4:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 March 1929 ∙ Matrix: CVE 48942-4 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. Prelude to Act 3 (\u003ci\u003esubstitute Take 3\u003c\/i\u003e) (4:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 March 1929 ∙ Matrix: CVE 48942-3 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    9. Prelude to Act 3 (\u003ci\u003ealternate unpublished take\u003c\/i\u003e) (3:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrix: CVE 48937-3 ∙ Unpublished on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e10.     \u003cstrong\u003eDUKAS: L’apprenti sorcier \u003c\/strong\u003e\n    (\u003ci\u003eoriginally issued Take 2 for second side\u003c\/i\u003e) (9:18)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrices: CVE 48938-3 and 48939-2 ∙ First issued\n    on Victor 7021\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e11. \u003cstrong\u003eDUKAS: L’apprenti sorcier \u003c\/strong\u003e(\u003ci\u003esubstitute Take 1 for\n    second side\u003c\/i\u003e) (9:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrices: CVE 48938-3 and 48939-1 ∙ First issued\n    on Victor 7021\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eArturo Toscanini ∙ Philharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eNew York Philharmonic Orchestra (CD 1, Tracks 9 and 10)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBruno Jaenicke\u003c\/b\u003e, solo horn (CD 1, Track 10)\u003cbr\u003e\u003cb\u003eJohn Amans\u003c\/b\u003e, solo flute (CD 1, Tracks 1 - 3, 9, 11 \u0026amp; 12)\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003ePitch stabilisation and equalisation matching (Beethoven): Andrew Rose\n\n\u003c\/p\u003e\u003cp\u003e\n    Recorded in Carnegie Hall, New York City. (CD 1, Tracks 9 and 10 recorded\n    in the Chapter Room of Carnegie Hall)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTotal duration: \u003cb\u003e 2hr 24:19   \u003c\/b\u003e  \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 67:06\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD2: 77:13\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC588.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC588.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":31553858502717,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205535023438,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC588_3858b9b9-f299-4416-aae3-0421219b60c5.jpg?v=1582269305"},{"product_id":"pasc588-cd","title":"TOSCANINI Philharmonic-Symphony Orchestra of New York Complete Recordings ∙ Volume 2 (1926-36) - PASC588 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC588.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":31553850015805,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205534990670,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC588.jpg?v=1658750308"},{"product_id":"paco175","title":"CALLAS Rossini: Il Turco in Italia (1954) - PACO175","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl Turco in Italia\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 52:57\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eFiorilla  -  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSelim  -  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Rossi-Lemeni\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNarciso  -  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicolai Gedda\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeronio  -  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFranco Calabrese\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eZaida  -  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJolanda Gardino\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbazar  -  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiero de Palma\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIl poeta  -  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMariano Stabile\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus Master: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVittore Veneziani\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;\"\u003eGianandrea Gavazzeni\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO175.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\"\u003ci\u003eIl Turco in Italia\u003c\/i\u003e was the sixth opera recorded by Callas under her contract with Columbia\/Angel. For other works either side of it Walter Legge seemed more concerned with his diva filling holes in his company’s catalogue. It was, after all, being eclipsed by Decca with their diva Renata Tebaldi, recording her in roles of which she had stage experience. This recording was the exception. It was also unusual in that Rossini operas on record were few and far between. Apart from the \u003ci\u003eIl Barbiere\u003c\/i\u003e, EMI’s \u003ci\u003eIl Comte d’Ory\u003c\/i\u003e under Gui, and a 1958 recording by Philips of \u003ci\u003eMosé\u003c\/i\u003e, with Nicola Rossi-Lemeni in the title role, the catalogue lacked recordings by the composer well into the LP era. Even the present one is a very abbreviated version at around 113 minutes compared with the 146 minutes on the CBS recording with Montserrat Caballé as Fiorilla.\"\u003cbr\u003e \u003cbr\u003e\u003cb\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2006\/mar06\/Rossini_Turco_811102829.htm\" target=\"_blank\"\u003eRobert J Farr,\u003c\/a\u003e\u003c\/b\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2006\/mar06\/Rossini_Turco_811102829.htm\" target=\"_blank\"\u003e MusicWeb International, 2006\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\"Fiorilla was one of two comic roles in Maria Callas’ repertoire, the other being Rossini’s Rosina. \u003ci\u003eIl Turco \u003c\/i\u003eis a strange work, witty and wry rather than zany, and very literary. Most of the score’s highlights are ensembles, and you might imagine that Callas could overpower her co-stars in such a situation. But the opposite is true despite her unique timbre that always shines through. She’s in great voice in this 1954 recording, absolutely secure throughout her range, and her impeccable rhythmic sense makes her work in the tricky, sometimes off-the-beat ensembles ideal. She turns out to be a team player par excellence. The role is of a headstrong, sassy woman who loves the attention men give her, and she loves playing one off against the other. Callas uses a girlish tone when being seductive but puts some iron into it when she has to make a point. Bass Nicola Rossi-Lemeni plays the Turk Callas plays games with, and he’s as expressive and fluid as she is. The rest of the cast is equally good. There have been better (and more complete) recordings since, but Callas is in a class by herself, and this is utterly charming.\"\u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.classicstoday.com\/review\/review-13229\/\" target=\"_blank\"\u003e\u003cb\u003eRobert Levine\u003c\/b\u003e, Classics Today, undated\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\"Calabrese is, in fact, at his best when he is joined by Callas in the duet \"Per piacere alia signora”. The husband and wife exchanging “Perdonate” and “Mi lasciate” is quintessential Rossini and grand vocal acting. All through, Mme. Callas acts vividly, chiding, boasting, melting; one can “see” the performance, and when in typical Rossinian style she is given a “key” figure, each repetition of it carries, so one thinks, a slightly different meaning. I found myself teased by memories of these little phrases for hours afterwards, though neither of her big arias contains anything quite up to the best in the \u003ci\u003eBarber\u003c\/i\u003e. On her own and when in lighter voice, Mme. Callas is admirably the Rossinian heroine, and she has such go and gusto in the ensembles, one forgives the crowing and the occasional bagpipe skirl. Spontaneous? Never—in the Galli-Gurci blythe, canary style. But an artist! She reminds me very much of Columbia’s Mercedes Capsir, a singer too easily written off in the old days.\"\u003cbr\u003e \u003cbr\u003e\u003cb\u003eP.H.-W\u003c\/b\u003e., The Gramophone, October 1955\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl Turco in Italia\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1. Sinfonia  (8:42)\u003cbr\u003e\u003cbr\u003eACT ONE, SCENE ONE\u003cbr\u003e2. Nostra patria è il mondo intero  (2:20)\u003cbr\u003e3. Ho da fare un dramma buffo  (3:03)\u003cbr\u003e4. Ah! Se di questi zingari l'arrivo  (0:47)\u003cbr\u003e5. Vado in traccia di una Zingara  (3:44)\u003cbr\u003e6. Ah mia moglie  (1:13)\u003cbr\u003e7. Non si dà follia maggiore  (3:39)\u003cbr\u003e8. Voga, voga, a terra, a terra  (1:46)\u003cbr\u003e9. Bella Italia, alfin ti miro  (2:40)\u003cbr\u003e10. Serva... Servo  (3:37)\u003cbr\u003e11. Amici... soccorretemi  (0:54)\u003cbr\u003e12. Un marito scimunito!  (5:31)\u003cbr\u003e\u003cbr\u003eACT ONE, SCENE TWO\u003cbr\u003e13. Ola tosto il caffé  (1:39)\u003cbr\u003e14. Siete Turchi  (3:16)\u003cbr\u003e15. Io stupisco, mi sorprende  (2:50)\u003cbr\u003e16. Come! sì grave scomo  (3:17)\u003cbr\u003e17. Un vecchio far non può maggior follia  (2:24)\u003cbr\u003e18. Per piacere alla signora  (2:30)\u003cbr\u003e19. No, mia vita, mio tesoro  (3:34)\u003cbr\u003e\u003cbr\u003eACT ONE, SCENE THREE\u003cbr\u003e20. Gran maraviglie  (1:20)\u003cbr\u003e21. Per la fuga è tutto lesto  (4:31)\u003cbr\u003e22. Perché mai se non tradito  (2:34)\u003cbr\u003e23. Evviva d'amore  (0:55)\u003cbr\u003e24. Chi servir non brama Amor  (1:57)\u003cbr\u003e25. Qui mia moglie ha da venire  (0:57)\u003cbr\u003e26. Ah! che il cor non m'ingannava  (2:42)\u003cbr\u003e27. Vada via si guardi bene  (1:47)\u003cbr\u003e28. Quanto il vento  (3:06)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eACT TWO, SCENE ONE\u003cbr\u003e1. A proposito, amico  (1:14)\u003cbr\u003e2. D'un bell'uso in Turchia  (3:16)\u003cbr\u003e3. Se Fiorilla di vender bramate  (1:49)\u003cbr\u003e4. Ed invece di pagarla  (1:34)\u003cbr\u003e5. Non v'è piacer perfetto  (2:17)\u003cbr\u003e6. Che Turca impertinente!  (2:28)\u003cbr\u003e7. Credete alle femmine  (1:52)\u003cbr\u003e8. In Italia certamente  (3:15)\u003cbr\u003e9. Fermate... Cosa c'è?  (1:26)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE TWO\u003cbr\u003e10. E Selim non si vede!  (2:13)\u003cbr\u003e11. Oh! guardate che accidente  (3:20)\u003cbr\u003e12. Dunque seguitemi  (1:23)\u003cbr\u003e13. Questo vecchio maledetto  (2:46)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE THREE\u003cbr\u003e14. Sì, mi è forza partir  (1:18)\u003cbr\u003e15. Son la vite sul campo appassita  (2:25)\u003cbr\u003e16. Rida a voi sereno il cielo  (3:05)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCAST\u003cbr\u003eFiorilla  -  \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eSelim  -  \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003eNarciso  -  \u003cb\u003eNicolai Gedda\u003c\/b\u003e\u003cbr\u003eGeronio  -  \u003cb\u003eFranco Calabrese\u003c\/b\u003e\u003cbr\u003eZaida  -  \u003cb\u003eJolanda Gardino\u003c\/b\u003e\u003cbr\u003eAlbazar  -  \u003cb\u003ePiero de Palma\u003c\/b\u003e\u003cbr\u003eIl poeta  -  \u003cb\u003eMariano Stabile\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master: \u003cb\u003eVittore Veneziani\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eGianandrea Gavazzeni\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eRecorded at Teatro Alla Scala, Milan. 31 August - 8 September 1954\u003cbr\u003eCover artwork based on a photograph of Maria Callas and Nicola Rossi-Lemeni as Fiorilla and Selim in the 1955 La Scala production of \u003ci\u003eIl Turco in Italia\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eTotal duration: 1hr 52:57    CD1: 77:15     CD2: 35:42\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\/PACO175.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO175.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":33011297353789,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205528830286,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205528863054,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO175_7525aac5-6707-4d09-a8f1-7debc43186e7.jpg?v=1611566540"},{"product_id":"paco175-cd","title":"CALLAS Rossini: Il Turco in Italia (1954) - 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With broadcasting time restricted to a particular slot, the importance of rehearsal sequences for posterity has grown stronger. Still, there are plenty recordings with the Danish Statsradiofonien, some of them virtually unknown. The collaboration of Busch with the orchestra goes well back into the 1930s - in 1937 he was appointed Principal Conductor - and it is striking when in the concert review of 18 January 1951 the \u003ci\u003eNationaltidende \u003c\/i\u003eat length reports: “Fritz Busch is back, and last night he bestowed the Thursday concert again with his distinctive imprint. How he is jumping around with the orchestra! He knows each and every one of the excellent musicians, and they know him and what each of his gestures means, from the very small movements to the big explosions – and the orchestra obeys his word.”\u003cbr\u003e\u003cbr\u003eThe present disc offers three recordings from Busch’s last season with the Statsradiofoniens Symfoniorkester, 1950\/51, when he received a remuneration of 3400 Danish Crowns per concert including all rehearsals (cf. also PASC 570 and PASC 604, including Brahms’s \u003ci\u003eTragic \u003c\/i\u003eOverture and \u003ci\u003eNänie \u003c\/i\u003eas well as Beethoven’s \u003ci\u003eNinth \u003c\/i\u003eand \u003ci\u003eLeonore \u003c\/i\u003eII, all from the same season, \u003ci\u003eLeonore \u003c\/i\u003eII from the same concert as the Mendelssohn).\u003cbr\u003e\u003cbr\u003eThe Overture to the opera \u003ci\u003eSemiramide \u003c\/i\u003eis a singularity in Fritz Busch’s discography as it is his only surviving Rossini, never before released. Busch’s diary mentions rehearsals on 16 and 17 January 1951, totalling to not much more than an hour of time, plus the public dress rehearsal at 10 a.m. on 18 January, ten hours previous to the actual “Torsdagskonsert”. The newspaper \u003ci\u003ePolitiken \u003c\/i\u003edescribes the work “played with a roguishness, an inciting rhythm and a beautiful sound that was immediately enchanting.”\u003cbr\u003e\u003cbr\u003eIn contrast, Schubert’s \u003ci\u003eGreat \u003c\/i\u003eC major Symphony, was rehearsed on 23 and 24 January prior to dress rehearsal and concert on 25 January 1951, the other major work in the programme being Nielsen’s Violin Concerto, performed by soloist Emil Telmányi (this recording is available on Danacord). In the concert reviews the Nielsen work largely overshadowed the rendering of the Schubert, a work which Busch and the orchestra had performed together in the past twenty years to high acclaim. The symphony (the finale is missing from all surviving sources) had been released both on LP and CD, most recently as long back as 1988. It may be noted that on 26 and 27 January 1951 Haydn’s Sinfonia Concertante in B flat major Hob. I:105 were recorded by the Statsradiofoniens Symfoniorkester under Fritz Busch for commercial release by H.M.V. (PASC 622) – a work, in fact, which was also programmed in the concert of 14 September 1950. \u003cbr\u003e\u003cbr\u003eMuch better known than the broadcasts of the Schubert and the Rossini is Busch’s performance of Mendelssohn Bartholdy’s “\u003ci\u003eItalian\u003c\/i\u003e” Symphony, yet largely forgotten over the past fifteen years. The symphony is here programmed as a kind of a replacement for the missing finale movement of the Schubert. The concert review in the \u003ci\u003eSocial-Demokraten\u003c\/i\u003e stated: “We award the prize to the Mendelssohn, the sunny tones of which the radio orchestra reproduced absolutely enchantingly.” And in the \u003ci\u003eBörsen \u003c\/i\u003eone could read: “The audience’s […] reaction was stormy and manifested itself in a completely Italian-like enthusiasm.”\u003cbr\u003e\u003cbr\u003eFor a considerable period Busch had made Denmark his home, and even after he had to flee from Europe in 1940 he did not claim all his scores and performing materials, which remained safe and secure in the Copenhagen Statsradiofoniens archives until after his death.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eJürgen Schaarwächter\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003eMax-Reger-Institut with BuschBrothersArchive, Karlsruhe\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFRITZ BUSCH\u003c\/b\u003e in Copenhagen\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSCHUBERT  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 9 \u003c\/span\u003ein C major 'Great', D.944 [without finale]\u003cbr\u003e1. 1st mvt. - Andante - Allegro, ma non troppo  (12:30)\u003cbr\u003e2. 2nd mvt. - Andante con moto  (14:27)\u003cbr\u003e3. 3rd mvt. - Scherzo. Allegro vivace  (9:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert performance, Statsradiofonien, Koncertsalen, Copenhagen, 25 January 1951\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMENDELSSOHN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4\u003c\/span\u003e in A major, 'Italian', Op. 90\u003cbr\u003e4. 1st mvt. - Allegro vivace  (8:39)\u003cbr\u003e5. 2nd mvt. - Andante con moto  (6:30)\u003cbr\u003e6. 3rd mvt. - Con moto moderato  (6:24)\u003cbr\u003e7. 4th mvt. - Saltarello. Presto  (6:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert performance, Statsradiofonien, Koncertsalen, Copenhagen, 14 September 1950\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e8. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eOverture to \u003ci\u003eSemiramide \u003c\/i\u003e\u003c\/span\u003e\u003ci\u003e \u003c\/i\u003e(12:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRehearsal for concert performance, Statsradiofonien, Koncertsalen, Copenhagen 18 January 1951 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e[Rarissima 15 = original acetate disc from the collection of Gert Schäfer and Klaus Schöler]\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eStatsradiofoniens Symfoniorkester    \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;\"\u003e Fritz Busch\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Fritz Busch taken in 1950\u003cbr\u003eSpecial thanks to Dr. Jürgen Schaarwächter\u003cbr\u003eProduced in co-operation with the Max-Reger-Institut\/BuschBrothersArchive, Karlsruhe, Germany\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e76:02 \u003c\/b\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC632.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC632.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":39319480139837,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205526962510,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205526995278,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC632.jpg?v=1622344144"},{"product_id":"pasc632-cd","title":"BUSCH in Copenhagen: Schubert, Mendelssohn, Rossini (1950\/51) - PASC632 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC632.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":39319479418941,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205526929742,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC632_97cd997e-f3c1-4e0e-94f6-c25e42b3df9f.jpg?v=1658751448"},{"product_id":"pasc642","title":"ZEMLINSKY The Complete Recordings (1927-1934) - PASC642","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart, Beethoven, Weber, Rossini, Flotow, Maillart, J Strauss II, Verdi, Puccini, Smetana, Dvořák, Fibich, Weinberger\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e, 1927-1934\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 54:03\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVarious Soloists\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVarious Orchestras\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;\"\u003eAlexander von Zemlinsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC642.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\n    \n        \u003cem\u003e\n            I have admired the work of many conductors during my long career .\n            . . But I think that of all those I have heard I would nominate\n            Alexander von Zemlinsky as the all-round conductor who achieved the\n            most consistently high standard, and that is a mature judgement. I\n            remember a performance of the “Marriage of Figaro” by him in Prague\n            as the most satisfying operatic experience of my life.\n        \u003c\/em\u003e\n    \n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\" align=\"right\"\u003e\n    \u003cstrong\u003eIgor Stravinsky, 1964\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        For today’s listeners, the name of Alexander von Zemlinsky is most\noften associated with such late-Romantic era compositions as the\u003cem\u003eLyric Symphony\u003c\/em\u003e, the massive tone poem,\u003cem\u003eDie Seejungfrau\u003c\/em\u003e (\u003cem\u003eThe Mermaid\u003c\/em\u003e), and the opera        \u003cem\u003eDer Zwerg\u003c\/em\u003e (\u003cem\u003eThe Dwarf\u003c\/em\u003e). But this focus on Zemlinsky as\n        composer only dates from the 1970s onward, as his output was\n        rediscovered by a new generation of concert goers and record\n        collectors. For most of his later career, and for decades after his\n        death, Zemlinsky was primarily remembered as an opera conductor who\n        left a small number of recordings made in the late 1920s and early\n        ‘30s. The present release, issued on the occasion of the 150th\n        anniversary of Zemlinsky’s birth (14 October 1871), brings together for\n        the first time all of his extant recordings, including two titles\n        unpublished on 78 rpm discs.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Zemlinsky was born in Vienna and was accepted into the Conservatory there\n    as a piano student at the age of thirteen, where he also studied\n    composition under Bruckner. His early works showed the influence of Brahms,\n    who became an influential supporter. In an amateur orchestra he had founded\n    in 1895, Zemlinsky met Arnold Schoenberg, who was to become his close\n    friend, student (in counterpoint) and brother-in-law, when he married\n    Zemlinsky’s sister.\n\u003c\/p\u003e\n\u003cp\u003e\n    Zemlinsky’s reputation as a composer began to rise with the success of his\n    Second Symphony at its Viennese première in 1897. Three years later, Mahler\nconducted the first performance of Zemlinsky’s opera,    \u003cem\u003eEs war einmal\u003c\/em\u003e (\u003cem\u003eOnce Upon a Time\u003c\/em\u003e) at the Vienna Court\n    Opera. It was around this time that Zemlinsky took on Alma Schindler as a\n    composition student. The two began a romantic relationship which she ended,\n    subsequently marrying Mahler in 1902.\n\u003c\/p\u003e\n\u003cp\u003e\n    Zemlinsky served in a number of conductorial positions, first in Vienna,\n    then from 1911 to 1927 at the Deutsches Landestheater in Prague. In 1924,\n    he moved to Berlin, where he continued to teach and also conduct at the\n    Kroll Opera, until the rise of the Nazis in 1933 forced him to return to\n    Vienna. Following Schoenberg, he moved to America in 1938, but found few\n    opportunities there. He died in Larchmont, New York in 1942.\n\u003c\/p\u003e\n\u003cp\u003e\n    What strikes modern listeners about his recordings is their directness and\n    lack of the sort of willfulness commonly associated with conductors of his\n    era. In a previous reissue of some of these recordings, musicologist Helmut\n    Haack wrote: “Zemlinsky’s approach is analytical. He brings each and every\n    theme to life according to its own character so that each interpretation\n    seems the definitive one . . . By this means, Zemlinsky exposes the formal\n    structure of each piece. Scrupulous attention to every detail without\n    detaching it from its context allows him to approach Flotow and Maillart as\n    whole-heartedly as classical composers such as Mozart and Beethoven.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Zemlinsky’s published orchestral recordings have been reissued on CD twice\n    before, first by Koch-Schwann, and later by Archiphon. The latter included\n    the first release of one version of the \u003cem\u003eFreischütz\u003c\/em\u003e Overture,\n    transferred from a tape source so dim and muffled as to be almost\n    unlistenable. The operatic accompaniments have been issued on various CDs\n    associated with their singers (on Preiser and Supraphon), except for the\nGerlach-Rusnak sides, which have only been commercially reissued on LP. The    \u003cem\u003eFledermaus\u003c\/em\u003e Overture and one version of the \u003cem\u003eFreischütz\u003c\/em\u003e\n    make their first appearances on this release.\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;\"\u003eALEXANDER VON ZEMLINSKY The Complete Recordings\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eCD 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1.    \u003cstrong\u003eMOZART Don Giovanni - Overture \u003c\/strong\u003e\n    (6:11)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded Autumn 1927 in Berlin\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    ∙ Matrices: 709 \u0026amp; 710 bm ∙ First issued on Grammophon 19796\n\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n    2. \u003cstrong\u003eMOZART Cosí fan tutte - Overture \u003c\/strong\u003e(4:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Autumn 1927 in Berlin ∙ Matrix: 711 ½ bm ∙ First issued on Grammophon 19817\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3.\n    \n        \u003cstrong\u003eMOZART Die Entführung aus dem Serail \u003c\/strong\u003e\n   \n    \u003cstrong\u003e- Overture \u003c\/strong\u003e\n    (4:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Autumn 1927 in Berlin ∙ Matrix: 712 bm ∙ First issued on\n    Grammophon 19817\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e4. \u003cstrong\u003eBEETHOVEN Fidelio - Overture \u003c\/strong\u003e(6:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded January 1929 in the Hochschule für Musik, Berlin\n    \n    ∙ Matrices: 1897 \u0026amp; 1898 ½ BK I ∙ First issued on Grammophon 62667\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e5. \u003cstrong\u003eWEBER Der Freischütz - Overture\u003c\/strong\u003e (Takes 1-1-1)    \u003cstrong\u003e \u003c\/strong\u003e(9:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Autumn 1927 in Berlin ∙ Matrices: 718, 719 \u0026amp; 720 bm ∙ Unissued\n    on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e6. \u003cstrong\u003eWEBER Der Freischütz - Overture\u003c\/strong\u003e (Takes 1-2-2)    \u003cstrong\u003e \u003c\/strong\u003e(9:50)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Autumn 1927 in Berlin ∙ Matrices: 718, 719 ½ \u0026amp; 720 ½ bm ∙\n    Unissued on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e7.\u003cstrong\u003eROSSINI La gazza ladra - Overture\u003c\/strong\u003e    \u003cstrong\u003e \u003c\/strong\u003e(8:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded January 1929 in the Hochschule für Musik, Berlin ∙ Matrices: 1575\n    \u0026amp; 1576 bm I ∙ First issued on Grammophon 66856\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e8.\n    \n        \u003cstrong\u003eFLOTOW Alessandro Stradella - Overture\u003c\/strong\u003e\n   \n    \u003cstrong\u003e \u003c\/strong\u003e\n    (8:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded September 1928 in the Hochschule für\n    Musik, Berlin ∙ Matrices: 1345 \u0026amp; 1346 bm I ∙ First issued on Grammophon\n    66795\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1.\n    \n        \u003cstrong\u003eMAILLART Les Dragons de Villars - Overture \u003c\/strong\u003e\n   \n    (6:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded September 1928 in the Hochschule für Musik, Berlin\n    \n    ∙ Matrices: 1347 ½ \u0026amp; 1348 ½ bm I ∙ First issued on Grammophon 66796\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2. \u003cstrong\u003eJ. STRAUSS II Die Fledermaus - Overture\u003c\/strong\u003e (8:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Autumn 1927 in Berlin\n    ∙ Matrices: 716 \u0026amp; 717 bm ∙ Unissued on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e3. \u003cstrong\u003eSMETANA Vltava from Má vlast\u003c\/strong\u003e (10:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 April 1930 in Studio Wilhelmsaue, Berlin\n    \n    ∙ Matrices: 30467\/9 ∙ First issued on Ultraphon E 465\/6\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e4.\n    \n        \u003cstrong\u003eWEINBERGER Polka from Schwanda the Bagpiper\u003c\/strong\u003e\n    \n    (2:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 April 1930 in Studio Wilhelmsaue, Berlin ∙ Matrix: 30470 ∙\n    First issued on Ultraphon E 466\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eVERDI Il Trovatore\u003c\/strong\u003e\u003cbr\u003e5. Ah, sì, ben mio (3:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 October 1932 in Berlin ∙ Matrix: 0D 1166-2 ∙ First issued on\n    Electrola EG 2636\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e6. Di quella pira (2:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 October 1932 in Berlin ∙ Matrix: 0D 1167-2 ∙ First issued on\n    Electrola EG 2636\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003ePUCCINI Tosca\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e7. Recondita armonia (2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 October 1932 in Berlin ∙ Matrix: 0D 1168-2 ∙ First issued on\n    Electrola EG 2637\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e8. E lucevan le stelle (3:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 October 1932 in Berlin\n    ∙ Matrix: 0D 1169-1 ∙ First issued on Electrola EG 2637\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eNICOLAI Die lustigen Weiber von Windsor\u003c\/strong\u003e\n    \n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e9. In einem Waschkorb? (6:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 \u0026amp; 18 January 1933 in Berlin\n    ∙ Matrices: WR 403-2 \u0026amp; 404-2 ∙ First issued on Columbia DW 3047\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eSMETANA The Bartered Bride\u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e10. Každý jen tu svou (4:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 or 18 January 1933 in Berlin ∙ Matrix: WRX 9-1 ∙ First issued\n    on Columbia DWX 5037\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e11. \u003cstrong\u003eFIBICH Poème\u003c\/strong\u003e (3:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded February 1934 in Vienna ∙ Matrix: Ve 2124-1 ∙ First issued on\n    Odeon O-25387\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e12. \u003cstrong\u003eDVOŘÁK Humoresque\u003c\/strong\u003e (2:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded February 1934 in Vienna\n    ∙ Matrix: Ve 2125-1 ∙ First issued on Odeon O-25387\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eRudolf Gerlach-Rusnak\u003c\/strong\u003e\n    (tenor) (CD 2, Tracks 5 - 8)\u003cstrong\u003e\u003cbr\u003eGerhard Hüsch\u003c\/strong\u003e\n    (baritone) (CD 2, Track 9)\u003cstrong\u003e\u003cbr\u003eEugen Fuchs\u003c\/strong\u003e\n    (bass) (CD 2, Tracks 9 - 10)\u003cstrong\u003e\u003cbr\u003eCharles Kullmann\u003c\/strong\u003e\n    (tenor) (CD 2, Track 10)\u003cstrong\u003e\u003cbr\u003eJarmila Novotná\u003c\/strong\u003e\n    (soprano) (CD 2, Tracks 11 - 12)\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBerlin-Charlottenburg Opera Orchestra\u003c\/strong\u003e\n    \n    (Orchester der Städtischen Oper) (CD 1, Tracks 1 - 3 and CD 2, Tracks 5 -\n    10)\u003cstrong\u003e\u003cbr\u003eBerlin State Opera Orchestra\u003c\/strong\u003e\n    (CD 1, Tracks 4 - 8 and CD 2, Tracks 1 - 2)\u003cstrong\u003e\u003cbr\u003eBerlin Philharmonic Orchestra\u003c\/strong\u003e\n    (CD 2, Tracks 3 - 4)\u003cstrong\u003e\u003cbr\u003eVienna Concert Orchestra\u003c\/strong\u003e\n    (CD 2, Tracks 11 - 12)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlexander von Zemlinsky\u003c\/strong\u003e\n    (conductor)\n\u003c\/p\u003e\n\u003cp\u003e\n    CD 2, Tracks 5 - 10 sung in German\u003cbr\u003eCD 2, Tracks 11 - 12 sung in Czech\n\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer:\u003cb\u003e Mark Obert-Thorn\n\u003c\/b\u003e    \n\u003c\/p\u003e\n\u003cp\u003e\n    \n        Special thanks to James H. North and the Yale Collection of Historical\n        Sound Recordings (Mark Bailey, director) for providing source material,\n        and to Oliver Wurl for discographic information.\u003c\/p\u003e\u003cp\u003eCover artwork based on a photograph of \u003cb\u003eAlexander von Zemlinsky\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTotal duration:  1hr 54:03 \u003c\/b\u003e    \u003cbr\u003eCD1: 58:33  CD2: 55:30    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC642.png578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC642.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":39404458082365,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205525422414,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC642.png?v=1631851208"},{"product_id":"pasc642-cd","title":"ZEMLINSKY The Complete Recordings (1927-1934) - 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Luigi Alva\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eFigaro \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Tito Gobbi\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eBartolo \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Fritz Ollendorff\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eBasilio \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Nicola Zaccaria\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Chorus \u0026amp; 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;\"\u003eAlceo Galliera\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO191.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\n    \"We go to \u003cem\u003eII \u003c\/em\u003e\u003cem\u003ebarbiere \u003c\/em\u003efor refreshment. Here the choice of\n    conductor was as happy as it was unexpected. The veteran Serafin and\n    man-of-the-moment Giulini were the obvious choices, but already critics and\n    public were complaining about the predictability of cast-lists in this\n    wonderful new age of complete operatic recordings. Alceo Galliera had\n    attracted attention as a symphonic conductor and an orchestral trainer of\n    exceptional ability. Walter Legge had picked him out for some early\n    recordings with the Philharmonia Orchestra, including a sparkling\n    performance of the Overture from \u003cem\u003eIl \u003c\/em\u003e\u003cem\u003ebarbiere. \u003c\/em\u003eTo the\n    opera itself he brought a light touch, imaginative care for detail and a\n    nice Rossinian feeling of expectancy, of fun brooding in alleyways and lights\n    turned on in corners. It is, of course, an ensemble opera, the whole\namounting to much more than the sum of its parts. The famous Rossini    \u003cem\u003ecrescendo \u003c\/em\u003eis the embodiment of laughter welling up from all points\n    of the compass. It is as important, for instance, that the \"stars\" work\n    together in the \"Buona sera\" quintet as that Figaro should make a success\n    of his \"Largo al factotum\"; and, however brilliant Rosina's \"Una voce poco\n    fu\", the general joy of the evening depends more upon the success of the Act I finale. Here, each of the principals makes a special\n    contribution (mostly through an individuality of timbre), but each also\n    draws from the centre (that is, the conductor and, I think, the record\n    producer) a sense of a specialness of occasion, almost of history, that\n    Legge was able to impart to every individual session.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    All three principal singers need grace and agility, with the tenor's role\n    widely regarded as of the greatest technical difficulty. The Act 2 aria\n    \"Cessa di piu resistere\" has until recently been almost always omitted and,\n    on account of this omission and a number of other cuts, it would be\n    impossible to recommend this as the essential version. ButI see no reason to suppose Alva could not have made as good a job of it as\n    his successors have done: he was singing with the most delightful purity of\n    tone and definition of line, and both serenades are sung with elegance. The\n    lingering \u003cem\u003ediminuendi\u003c\/em\u003e of \"Se ii mio nome\" is in the best tradition\n    of his famous predecessor Tito Schipa.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    Of Callas it was said by Walter Legge that comedy failed to brush her with\n    its wings. He wrote with the authority of experience, but the unprejudiced\near does not support such a conclusion. The two complete sets -    \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e and \u003cem\u003eIl Turco in Italia\u003c\/em\u003e – are sung\n    with a smile which becomes radiantly visible if one can add the memory of\n    sparkling eyes and brilliant teeth as shown in video recordings of concert\n    performances. Of course we listen prepared to flinch before every high\n    note. The accursed flap lurks ahead ready to shake, rattle and roll every\n    dominant-tonic finale, yet almost always we find on returning to such\n    moments that the internal vocal caricaturist has been at work, distorting\n    and exaggerating. The wry humour of \"Dunque io son\" is much to her liking\n    and in this (as in much else) she is the mistress of humorous timing.\n    Otherwise much is done simply by individuality of timbre, the familiar\n    thrill of recognising the irreplaceable voice.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n    And the same is true of Gobbi: his voice still had an exceptional richness\n    of colouration, especially in the middle register and at moderate volume.\n    Sometimes the vibrations would flatten out, but the savour was never lost\n    for long; always he was Gobbi and once you had caught a love for the voice\n    it was not something you would drop for a coarsened note or two. Doctors\n    Basilio and Bartolo are also richly cast.\"\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eJohn Steane\u003c\/b\u003e, \u003ci\u003eGramophone\u003c\/i\u003e, May 2011\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThis recording, made in London in February 1957, was the first stereo opera recorded by Maria Callas for EMI. Later that year she would return to Milan to record again in mono at La Scala; unlike their Decca counterparts, EMI were slow to adapt to stereo work, particularly in what might now be considered the obvious field of opera. Nevertheless they did a very good job here - one which I hope you will find has been further enhanced in this Pristine XR remastering.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl barbiere di Siviglia\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e (59:44)\u003cbr\u003e\u003cbr\u003e1. Overture  (6:41)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003cbr\u003e2. Piano, pianissimo, senza parlar  (2:55)\u003cbr\u003e3. Ecco ridente in cielo  (4:10)\u003cbr\u003e4. Ehi, Fiorello?  (1:05)\u003cbr\u003e5. Mille grazie, mio signore  (1:56)\u003cbr\u003e6. Gente indiscreta!  (0:33)\u003cbr\u003e7. La ran la le ra, la ran la la  (4:41)\u003cbr\u003e8. Ah, che bella vita!  (3:44)\u003cbr\u003e9. Se il mio nome saper voi bramate  (2:55)\u003cbr\u003e10. Oh, cielo!  (1:00)\u003cbr\u003e11. All'idea di quel metallo  (3:07)\u003cbr\u003e12. Piano, piano  (1:59)\u003cbr\u003e13. Oh, il meglio  (1:38)\u003cbr\u003e14. Ah, che d'amore la fiamma  (1:23)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003cbr\u003e15. Una voce poco fa  (6:17)\u003cbr\u003e16. Sì, sì, la vincerò  (4:04)\u003cbr\u003e17. La calunnia è un venticello  (3:38)\u003cbr\u003e18. Ah! Che ne dite?  (2:52)\u003cbr\u003e19. Dunque io son  (2:54)\u003cbr\u003e20. Fortunati affetti miei  (2:13)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e (70:04)\u003cbr\u003e\u003cbr\u003e1. Ora mi sento meglio  (1:23)\u003cbr\u003e2. A un dottor della mia sorte  (4:54)\u003cbr\u003e3. Finora in questa camera  (0:28)\u003cbr\u003e4. Ehi, di casa, buona gente  (5:17)\u003cbr\u003e5. Dunque, lei vuol battaglia?  (3:13)\u003cbr\u003e6. Che cosa accadde, signori miei  (2:17)\u003cbr\u003e7. Fermi tutti, nessun si muova  (1:23)\u003cbr\u003e8. Fredda ed immobile  (3:02)\u003cbr\u003e9. Ma signor ... ma un dottor  (4:43)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e10. Ma vedi il mio destino!  (0:45)\u003cbr\u003e11. Pace e gioia sia con voi  (2:27)\u003cbr\u003e12. Insomma, mio signore, chi è lei?  (2:19)\u003cbr\u003e13. Venite, signorina  (0:43)\u003cbr\u003e14. Contro un cor che accende amore  (5:55)\u003cbr\u003e15. Bella voce! Bravissima!  (0:36)\u003cbr\u003e16. Quando mi sei vicina  (0:50)\u003cbr\u003e17. Bravo, signore barbiere, ma bravo!  (2:49)\u003cbr\u003e18. Don Basilio! ... Cosa veggo!  (4:01)\u003cbr\u003e19. Buona sera, mio signore  (2:01)\u003cbr\u003e20. Orsu, signor Don Bartolo  (3:15)\u003cbr\u003e21. Che vecchio sospettoso!  (0:29)\u003cbr\u003e22. Il vecchiotto cerca moglie  (3:20)\u003cbr\u003e23. Temporale  (2:49)\u003cbr\u003e24. Alfine eccoci qua  (1:02)\u003cbr\u003e25. Ah, qual colpo inaspettato  (5:46)\u003cbr\u003e26. Ah, disgraziati noi!  (2:15)\u003cbr\u003e27. Zitti, zitti, piano, piano  (2:05)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eRosina - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eIl conte d'Almaviva - \u003cb\u003eLuigi Alva\u003c\/b\u003e\u003cbr\u003eFigaro - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eBartolo - \u003cb\u003eFritz Ollendorff\u003c\/b\u003e\u003cbr\u003eBasilio - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eBerta - \u003cb\u003eGabriella Carturan\u003c\/b\u003e\u003cbr\u003eFiorello - \u003cb\u003eMario Carlin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlceo Galliera\u003c\/b\u003e\u003cbr\u003echorus-master Roberto \u003cb\u003eBenaglio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eRecorded 7-14 February 1957, Kingsway Hall, London\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eEMI Producer: Walter Legge\u003cbr\u003eEMI Sound Engineer: Robert Gooch\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 9:58 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO191.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO191.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":39928587747389,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205522211150,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205522243918,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO191_4d268be4-1b7e-402d-88ce-299d5b99348c.jpg?v=1652863113"},{"product_id":"paco191-cd","title":"CALLAS Rossini: Il barbiere di Siviglia (stereo, 1957) - 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Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eHebrides Overture\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;\"\u003e Artist’s Life - Waltz\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;\"\u003eEuryanthe - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eplus piano solos by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eChopin, Jensen, Liszt\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e and \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMendelssohn\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1923-1930\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:01\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolph Ganz\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor and piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSt. Louis Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC739.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003ePianist, conductor, composer and music educator Rudolph Ganz was born in Zurich, Switzerland in 1877.  He first performed publicly as a cellist at the age of ten, and as a pianist two years later.  After studying at the conservatories of Zurich, Lausanne and Strasbourg, he went to Berlin for further training under Ferruccio Busoni from 1899 to 1900.  At that time, he made his mature debut as a pianist with the Berlin Philharmonic, and shortly afterward as their conductor in a performance of his own Symphony No. 1.\u003cbr\u003e\u003cbr\u003eGanz then embarked on a major tour as a pianist of Europe and ultimately the United States, where he would make his home, becoming head of the piano faculty of the Chicago Music College from 1901 through 1905.  During this period, he also made his debut as soloist with the Chicago Symphony (1903) and the New York Philharmonic (1906).  He continued to tour throughout the U.S. and Canada over the following two decades before becoming the fourth music director of the St. Louis Symphony Orchestra in 1921.\u003cbr\u003e\u003cbr\u003eThe orchestra, which traced its roots back to 1880, is the second oldest symphonic ensemble in the U.S. after the New York Philharmonic.  In 1923, during Ganz’s third season there, the St. Louis Symphony was signed to a recording contract by the Victor Talking Machine Company.  For three consecutive winters, engineers from Victor traveled to Missouri to record the ensemble, at first using the acoustical process, and later the new microphone-based electrical recording technology for their final discs in 1925.  All sixteen published sides from those sessions are included here.\u003cbr\u003e\u003cbr\u003eBesides the expected “calling cards” of standard repertoire typical of recordings of the time, these also include several less well-known works, like the Festival Overture of Danish-born Belgian composer Eduard Lassen; three dances from British composer Edward German’s incidental music to Anthony Hope’s play, \u003ci\u003eNell Gwyn\u003c\/i\u003e; and the overture to the opera \u003ci\u003eDer Improvisator\u003c\/i\u003e by another virtuoso pianist-turned-composer, Eugen d’Albert.  Ganz’s conductorial style favored swift but flexible tempi, with string portamenti still the norm during this era.\u003cbr\u003e\u003cbr\u003eGanz left the St. Louis Symphony in 1927, returning to the Chicago Music College in 1929.  He would remain there as director until his retirement in 1954.  During the 1930s and 1940s, he would conduct series of Young People’s Concerts with the New York Philharmonic and the San Francisco Symphony.  He also continued to appear as a pianist in recitals, concerts and on the new medium of radio.  Ganz had already recorded over forty sides acoustically for the Pathé label in New York between 1917 and 1921 before he made his first electrical piano discs for Victor in 1930.  They display the old-school high Romantic approach to interpretation in which Ganz was raised, particularly in the Chopin and Liszt sides.  Their addition to this release completes his Victor recordings.\u003cbr\u003e\u003cbr\u003eThroughout his career, Ganz was interested in contemporary music, although this was not reflected in his discography.  Ravel dedicated the “Scarbo” movement from his \u003ci\u003eGaspard de la nuit\u003c\/i\u003e to Ganz, a reflection both of the pianist’s commitment to new works as well as to his technical prowess.  Late in life, he was said by one of his pupils to have had a score by Boulez on his piano.  Ganz died in Chicago where he had lived most of his life in 1972 at the age of 95.\u003cbr\u003e\u003cbr\u003eBesides the Pathé acoustics and four Victor electric sides, Ganz left behind few other piano disc recordings:  an album of his own Animal Pictures for music publisher Carl Fischer’s label around 1932; a 1944 American Decca set of solo works by Edward MacDowell, a composer he particularly championed; and a 1956 two-piano recital with his student Parthenia Vogelback on the obscure Chicago-based Tiffany label.  He made dozens of piano rolls, however, some of which have been transferred to LP and CD.  His only other recording as a conductor was a 1946 set of Grieg’s Holberg Suite with the Metropolitan Symphony Orchestra, a New York pickup group unrelated to the opera company, for the short-lived Pilotone label.  As far as could be researched, none of the recordings on the present release have been available since the 78 rpm era.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRUDOLPH GANZ\u003c\/b\u003e The Complete St. Louis Symphony Recordings\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e1. \u003cspan style=\"font-size: 18px;\"\u003e \u003cb\u003e  WEBER  \u003c\/b\u003eEuryanthe - Overture\u003c\/span\u003e (8:08)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 October 1923 ∙ Matrices: C 28852-2 and 28853-4 ∙ First issued on\n    Victor 55229\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2. \u003cspan style=\"font-size: 18px;\"\u003e \u003cb\u003e  LASSEN  \u003c\/b\u003eFestival Overture\u003c\/span\u003e (8:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30-31 October 1923 ∙ Matrices: C 28857-4 and 28858-6 ∙ First issued\n    on Victor 55202\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSINDING  \u003c\/b\u003eRustle of Spring\u003c\/span\u003e (2:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 October 1923 ∙ Matrix: B 28859-5 ∙ First issued on Victor 45389\n\n\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e4.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eD’ALBERT\u003c\/b\u003e  The Improvisator - Overture\u003c\/span\u003e (3:20)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 31 October 1923 ∙ Matrix: B 28860-1 ∙ First issued on Victor 45389\n\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e5.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e  Artist’s Life - Waltz\u003c\/span\u003e (4:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 November 1924 ∙ Matrix: C 28854-6 ∙ First issued on Victor 55255\n\n\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR  \u003c\/b\u003ePomp and Circumstance March No. 1\u003c\/span\u003e (4:18)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 November 1924 ∙ Matrix: C 28855-8 ∙ First issued on Victor 55255\n\n\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e7. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI  \u003c\/b\u003eThe Barber of Seville - Overture\u003c\/span\u003e (8:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 December 1925 ∙ Matrices: CVE 31134-9 and 31135-7 ∙ First issued\n    on Victor 55290\n\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e8. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN  \u003c\/b\u003eHebrides Overture\u003c\/span\u003e (8:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 \u0026amp; 7 December 1925 ∙ Matrices: CVE 31136-8 and 31137-6 ∙ First\n    issued on Victor 9013\n\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGERMAN  \u003c\/b\u003eThree Dances from \u003ci\u003eNell Gwyn\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e9.    Country Dance (4:06)\u003cbr\u003e10.    Pastoral Dance (2:35)\u003cbr\u003e11.    The Merrymakers’ Dance (2:07)\n\n\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 December 1925 ∙ Matrices: CVE 31138-8 and 31139-5 ∙ First issued\n    on Victor 9009\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\n    12. \u003cspan style=\"font-size: 18px;\"\u003e \u003cb\u003e  BOLZONI  \u003c\/b\u003eMinuet\u003c\/span\u003e (3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 December 1925 ∙ Matrix: BVE 34021-1∙ First issued on Victor 45531\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e13.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Song of India from \u003ci\u003eSadko\u003c\/i\u003e\u003c\/span\u003e\u003ci\u003e \u003c\/i\u003e(3:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 December 1925 ∙ Matrix: BVE 34023-5∙ First issued on Victor 45531\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e14. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJENSEN \u003c\/b\u003e(\u003ci\u003earr. Niemann\u003c\/i\u003e)  Murmuring Zephyrs*\u003c\/span\u003e (3:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 April 1930 ∙ Matrix: BVE 58642-7 ∙ First issued on Victor 1508\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e15. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN  \u003c\/b\u003eSpring Song*\u003c\/span\u003e (2:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 April 1930 ∙ Matrix: BVE 59472-2 ∙ First issued on Victor 1508\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e16. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLISZT  \u003c\/b\u003eLiebestraum No. 3*\u003c\/span\u003e (4:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 April 1930 ∙ Matrix: CVE 58643-8 ∙ First issued on Victor 7290\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e17. \u003cb\u003e   \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHOPIN \u003c\/b\u003e(\u003ci\u003earr. Joseffy\u003c\/i\u003e)  Valse Brillante, Op. 34, No. 1*\u003c\/span\u003e (4:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 June 1930 ∙ Matrix: CVE 58644-9 ∙ First issued on Victor 7290\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRudolph Ganz\u003c\/b\u003e, conductor or *pianist\n\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSt. Louis Symphony Orchestra\u003c\/span\u003e \u003c\/b\u003e(Tracks 1 – 13)\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003e Mark Obert-Thorn\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCover artwork based on a photograph of \u003cb\u003eRudolph Ganz\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eSpecial thanks to Nathan Brown, Jim Cartwright’s Immortal Performances,\n    Inc., Frederick P. Fellers, Donald Manildi\/International Piano Archives at\n    the University of Maryland (IPAM), and Charles Niss for providing source\n    material\n\u003c\/p\u003e\n\u003cp\u003eSt. Louis Symphony recordings made in St. Louis, Missouri (venue unknown);\n    piano solo recordings made in the Victor Studios, Camden, New Jersey\n\u003c\/p\u003e\n\n\u003cbr\u003e\n\u003cp\u003e\n    \u003cb\u003eTotal timing:  79:01\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cbr\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\/PASC739.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC739.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":51938983018830,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205506711886,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC739.jpg?v=1742533206"},{"product_id":"pasc739-cd","title":"GANZ The Complete St. Louis Symphony Recordings (1923-30) - PASC739 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC739.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":51937869791566,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205506646350,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC739_ed93d357-407a-4eef-b762-fb74b5ef3f26.jpg?v=1741947420"},{"product_id":"pasc750","title":"TOSCANINI in Pasadena, Vol. 2: Beethoven, Rossini, Smetana, Tchaikovsky, Wagner (1950) - PASC750","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 'Eroica'\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;\"\u003eRomeo \u0026amp; Juliet Fantasy Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSMETANA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Moldau\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eGood Friday Spell\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Cenerentola Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eEMMETT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDixie\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1950\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 45:23\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC750.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eIn April and May of 1950 Arturo Toscanini took the NBC Symphony Orchestra on what would be their only US tour together. Over the course of twenty-two concerts they travelled the length and breadth of the country, from New York to Los Angeles, north to Seattle, and back east again. Only in Pasadena, California, did they pause long enough to give two concerts in the same venue on consecutive evenings, on Wednesday 3rd and Friday 5th May, before heading north to San Francisco.\u003cbr\u003e\u003cbr\u003eThe NBC’s specially chartered 15-carriage train carried the bulk of the players and their instruments across the miles, serving both as accommodation and a social hub. As on their 1940 South American tour, there were also players – and Toscanini himself – who travelled more comfortably by air, occasionally providing the local press with opportunities to record small airport dramas as the NBC party arrived. It was, by all accounts, a gruelling schedule, with concert after concert following long journeys, yet the level of performance never appeared to falter.\u003cbr\u003e\u003cbr\u003eOur first Pasadena concert, issued as \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc740\" target=\"_blank\"\u003e\u003ci\u003e\u003cfont color=\"#0000ff\"\u003ePASC740\u003c\/font\u003e\u003c\/i\u003e\u003c\/a\u003e, revealed just how well these performances were captured, despite there being no evidence of any broadcast and no apparent intention to preserve them for posterity. Both concerts survive on acetate discs – fragile, short-lived by nature, and prone to deterioration – which have somehow made it through three-quarters of a century in remarkably decent condition. Even so, careful restoration was needed, particularly for the first Pasadena programme, to bring them back to life.\u003cbr\u003e\u003cbr\u003eThe second concert’s programme shared no repertoire with the first. Toscanini opened with Rossini’s overture to \u003ci\u003eLa Cenerentola\u003c\/i\u003e, a work he had championed since his earliest days on the podium, taken here with his customary rhythmic precision and sparkle. This was followed by Beethoven’s \u003ci\u003eEroica \u003c\/i\u003eSymphony, given in a taut, forward-pressing account that omitted the exposition repeat, propelling the music towards its destination with characteristic urgency. The \u003ci\u003eEroica \u003c\/i\u003ewas a work central to Toscanini’s repertoire, and his Pasadena reading combines architectural clarity with an almost combustible energy, making for a performance that still bristles with life today.\u003cbr\u003e\u003cbr\u003eAfter the interval the mood shifted to Smetana’s The Moldau (\u003ci\u003eVltava\u003c\/i\u003e), the best-known of his\u003ci\u003e Má vlast\u003c\/i\u003e tone poems, which Toscanini shapes without excess sentimentality, allowing the colours of the river’s journey to speak for themselves. The Good Friday Spell from Wagner’s \u003ci\u003eParsifal \u003c\/i\u003efollows, glowing with warmth and serenity, the NBC’s strings and woodwinds playing with luminous delicacy. The programme concludes with Tchaikovsky’s \u003ci\u003eRomeo and Juliet\u003c\/i\u003e Overture, its lyricism tenderly phrased and its climaxes delivered with thrilling precision.\u003cbr\u003e\u003cbr\u003eThe Pasadena Civic Auditorium’s acoustics add an extra dimension to these performances, allowing the NBC Symphony’s sonority greater breadth than was possible in the more confined Studio 8H. This additional resonance lends warmth to the strings, richness to the brass, and a greater sense of space to climactic moments – an aural reminder of how different Toscanini and his orchestra could sound outside their regular New York home.\u003cbr\u003e\u003cbr\u003eAs a bonus, we have managed to secure a recording of the encore \u003ci\u003eDixie\u003c\/i\u003e, by Daniel Decatur Emmett, which Toscanini performed in Atlanta, Philadelphia and, as heard here to an astonished and rapturous reception, in Richmond, Virginia, earlier in the tour. The music librarian to the NBC orchestra at the time, James Dolan, introduces the piece with a fascinating account of how it came to be included in the Maestro’s programme.\u003cbr\u003e\u003cbr\u003eOnce again, the restoration process has been kind to these vintage discs. While the occasional faint trace of surface wear is inevitable, the overall sound quality for a live, non-broadcast performance of this vintage is exceptional. These two Pasadena concerts, preserved against the odds, capture Toscanini and his orchestra away from the confines of Studio 8H, in front of a live audience, still playing with an intensity and discipline that left no doubt as to why they were the envy of orchestras across America.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eTOSCANINI \u003c\/b\u003ein Pasadena, Vol. 2 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (57:24)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Cenerentola - Overture\u003c\/span\u003e  (8:45)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 in E flat major, Op. 55, '\u003ci\u003eEroica\u003c\/i\u003e'\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (14:24)\u003cbr\u003e3. 2nd mvt. - Marcia funebre. Adagio assai  (16:23)\u003cbr\u003e4. 3rd mvt. - Scherzo. Allegro vivace - Trio  (5:36)\u003cbr\u003e5. 4th mvt. - Finale. Allegro molto  (12:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (47:58)\u003cbr\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSMETANA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMá Vlast - 2. Vltava (\u003ci\u003eThe Moldau\u003c\/i\u003e)\u003c\/span\u003e  (12:45)\u003cbr\u003e2. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eParsifal - Good Friday Spell\u003c\/span\u003e  (12:02)\u003cbr\u003e3. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomeo and Juliet  (\u003ci\u003eoverture-fantasia\u003c\/i\u003e) \u003c\/span\u003e (20:21)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBonus Tracks\u003c\/b\u003e\u003cbr\u003e4. James Dolan (\u003ci\u003eNBC SO Librarian\u003c\/i\u003e): Introduction to Dixie  (1:43)\u003cbr\u003e5. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eEMMETT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDixie\u003c\/span\u003e  (1:07)\u003cbr\u003eRecorded in Richmond, Virginia, 17 April 1950\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003eLive concert recording,  5 May 1950, Pasadena Civic Auditorium\u003cbr\u003e\u003cbr\u003eTotal duration:  1hr 45:23\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\/PASC750.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC750.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":54704918757710,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205504647502,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205504680270,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC750_3ea83087-6d62-4664-92eb-ec2a5f3687c5.jpg?v=1758036605"},{"product_id":"pasc750-cd","title":"TOSCANINI in Pasadena, Vol. 2: Beethoven, Rossini, Smetana, Tchaikovsky, Wagner (1950) - 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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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More than six decades later it remains a model of balance, intelligence and theatrical poise.\u003c\/p\u003e\n\n  \u003cp\u003eVittorio Gui was steeped in the Italian operatic tradition, yet his Rossini is never coarse or over-driven. Tempi are alert but never breathless, ensembles are finely judged, and the wit emerges through clarity rather than exaggeration. The performance trusts Rossini’s craftsmanship. The humour is allowed to arise naturally from rhythm, articulation and character.\u003c\/p\u003e\n\n  \u003cp\u003eAt its centre stands Sesto Bruscantini’s Figaro, a portrayal of elegance rather than bluster. His “Largo al factotum” is brilliantly articulated, alive with verbal point, yet always musical. He is less a swaggering barber than an intelligent facilitator, moving deftly between intrigue and charm.\u003c\/p\u003e\n\n  \u003cp\u003eVictoria de los Angeles brings warmth and humanity to Rosina. Her “Una voce poco fa” is shaped with lyrical grace rather than vocal display, and throughout she suggests a young woman of quick intelligence and emotional depth. Luigi Alva’s Count Almaviva complements her perfectly, singing with refinement and stylistic ease.\u003c\/p\u003e\n\n  \u003cp\u003eThe supporting cast is no less distinguished. Ian Wallace’s Bartolo avoids caricature, Carlo Cava’s Basilio is darkly resonant, and the smaller roles are taken with the same care that characterises the entire enterprise. The Glyndebourne Festival Chorus and Royal Philharmonic Orchestra respond to Gui with playing of transparency and rhythmic lift.\u003c\/p\u003e\n\n  \u003cp\u003eRecorded at Abbey Road Studios in September 1962, the original EMI production captured the performance with notable clarity. In this XR remastering the tonal palette has been subtly rounded and naturalised while preserving that clarity. The sound retains its immediacy but gains a touch of warmth, allowing the voices and orchestra to breathe more freely.\u003c\/p\u003e\n\n  \u003cp\u003eThe result is a \u003ci\u003eBarbiere\u003c\/i\u003e that continues to feel fresh, civilised and theatrically alive. If Rossini’s comedy depends on precision and proportion, this recording understands both. It is not merely a classic of the catalogue, but a performance that still speaks directly to the listener today.\u003c\/p\u003e\n\n\u003c\/div\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\u003cdiv class=\"tracklist\"\u003e\n\n  \u003cdiv style=\"font-size:16px;\"\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cbr\u003edisc one: 71:22\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eSinfonia\u003c\/i\u003e\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(7:34)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\n    \u003cb\u003eAct 1, Scene 1\u003c\/b\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003ePiano, pianissimo, senza parlar\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:02)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eEcco ridente in cielo\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(4:21)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eEhi, Fiorello? … Mio signore\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eMille grazie, mio signore\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:51)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: gente indiscreta!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(0:29)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eLa ran la le ra … Largo al factotum\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(4:45)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: Ah che bella vita!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(6:03)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eSe il mio nome saper voi bramate\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:55)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: Oh, cielo! … Nella stanza convien\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eAll’idea di quel metallo\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003ePiano, piano … Un’altra idea!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eOh, il meglio mi scordavo\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:41)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eAh, che d’amore la fiamma io sento\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:31)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\n    \u003cb\u003eAct 1, Scene 2\u003c\/b\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eUna voce poco fa\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(5:29)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: Sì, sì, la vincerò\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(4:36)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eLa calunnia è un venticello\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(4:29)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: Ah! Che ne dite?\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:20)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDunque io son\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eFortunati affetti miei\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:08)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: Ora mi sento meglio\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:29)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eA un dottor della mia sorte\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(5:18)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cbr\u003edisc two: 69:50\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\n\n    \u003cspan style=\"font-size:14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eFinora in questa camera\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(0:33)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eEhi, di casa, buona gente\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:50)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eAh, venisse, il caro oggetto\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDunque, lei vuol battaglia?\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:29)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eChe cosa accadde\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:19)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eFermi tutti. Nessun si mova\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:22)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eFredda ed immobile\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:44)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eMa signor … ma un dottor\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(5:02)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\n    \u003cb\u003eAct 2\u003c\/b\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: ma vedi il mio destino!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(0:49)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003ePace e gioia sia con voi\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: insomma, mio signore\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:53)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eContro un cor che accende amore\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(5:15)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: bella voce! Bravissima!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(0:38)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eQuando mi sei vicina\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:05)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: bravo, signor barbiere\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:47)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDon Basilio! … Cosa veggo!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(4:29)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eBuona sera, mio signore\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:55)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eOrsù, signor don bartolo\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:34)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eChe vecchio sospettoso!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(0:34)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eIl vecchiotto cerca moglie\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:40)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: dunque voi Don Alonso\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(3:01)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eTemporale\u003c\/i\u003e\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:59)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eAh, qual colpo inaspettato!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(4:31)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eZitti, zitti, piano, piano\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(1:28)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003e\u003ci\u003eRecitativo\u003c\/i\u003e: ah disgraziati noi!\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:22)\u003c\/span\u003e\u003cbr\u003e\n    \u003cspan style=\"font-size:14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDi sì felice innesto\u003c\/span\u003e \u003cspan style=\"font-size:14px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\n\n    Figaro – \u003cb\u003eSesto Bruscantini\u003c\/b\u003e\u003cbr\u003e\n    Rosina – \u003cb\u003eVictoria de los Angeles\u003c\/b\u003e\u003cbr\u003e\n    Il conte d’Almaviva – \u003cb\u003eLuigi Alva\u003c\/b\u003e\u003cbr\u003e\n    Don Basilio – \u003cb\u003eCarlo Cava\u003c\/b\u003e\u003cbr\u003e\n    Dr Bartolo – \u003cb\u003eIan Wallace\u003c\/b\u003e\u003cbr\u003e\n    Berta – \u003cb\u003eLaura Sarti\u003c\/b\u003e\u003cbr\u003e\n    Fiorello – \u003cb\u003eDuncan Robertson\u003c\/b\u003e\u003cbr\u003e\n    Ambrogio – \u003cb\u003eHarold Williams\u003c\/b\u003e\u003cbr\u003e\n    Un ufficiale – \u003cb\u003eJohn Rhys Evans\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\n\n    \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGlyndebourne Festival Chorus\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    Chorus Master: Myer Fredman\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    Conducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVittorio Gui\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\n\n    XR remastered by Andrew Rose\u003cbr\u003e\u003cbr\u003e\n\n    Total duration: 2hr 21:14\n\n  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