{"title":"Schumann","description":"Robert Schumann (8 June 1810 – 29 July 1856) was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.\u003cbr\u003e\u003cbr\u003eSchumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded. \u003cbr\u003e\u003cbr\u003eIn 1840, Schumann married Friedrich Wieck's daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which, before her marriage, formed a substantial part of her father's fortune.\u003cbr\u003e\u003cbr\u003eSchumann suffered from a mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to a mental asylum, at his own request, in Endenich near Bonn. Diagnosed with \"psychotic melancholia\", Schumann died two years later in 1856 without having recovered from his mental illness.","products":[{"product_id":"pasc322","title":"WALTER Polydor Acoustics Volume 2: Overtures (1923-25) - PASC322","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003e\u003cb\u003eCHERUBINI\u003c\/b\u003e Der Wasserträger - Overture\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred Overture\u003cbr\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Die Hebriden Overture (Fingal's Cave)\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Faust Overture\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e Benvenuto Cellini – Overture\u003c\/p\u003e\n\n\n\n\n\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1923-25\u003cbr\u003eTotal duration: 61:34\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eBruno Walter\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWalter admirers will find much to interest and intrigue in this selection578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eBruno Walter claimed that he first recorded around the turn of the 20th century, an assertion cited in the biography of the conductor by Erik Ryding and Rebecca Pechefsky. It was supposedly of music from Carmen, which he did record but more than two decades later. Whatever the truth, orchestrally speaking he first becomes audible in the series of acoustic Polydor recordings made from 1923 to 1925. Pristine Audio has already released his first major undertaking, Tchaikovsky’s “Pathétique” Symphony (1925, complete), coupled with Mozart overtures and two pieces from Carmen, on PASC142. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat this latest release demonstrates is the canny nature of recording selections made by companies such as Polydor, which would have been well aware of rival releases. Of the six overtures, four were making their first-ever appearance on disc: those by Cherubini, Schumann, Wagner, and Berlioz. It’s easy to label musicians “discographic pioneers,” not least in a landscape where so much remained to be recorded, but in that respect Walter was treading new water. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Coriolan Overture had already proved popular on disc. Thanks to Claude Graveley Arnold’s The Orchestra on Record 1896–1926 we know that Willem Mengelberg, Otto Urack, Landon Ronald, Leo Blech, and the more obscure Johannes Heidenreich had all recorded it by the time Bruno Walter set down his version in August 1923. Bass reinforcements, of course, were very much the norm. They work here with the desired strategic heightening effect, making audible what the acoustic horn could not pick up, though occasionally the balance is swampy despite the engineers’ best intentions. The performance has a degree of elasticity that must, to a large degree, accurately reflect Walter’s expressive position at the time—he was in his late 40s in 1923—not least in the slightly sentimentalized second subject and freedom of metrical pulse. A check of the turn-over point reinforces the fact that these were not decisions imposed on him, but were part of a more loosely structural approach. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThere are more overt portamenti in the performance of the Cherubini overture. The bass reinforcements are also rather more crudely employed than in Coriolan. One could attribute the greater portamenti to the players’ unfamiliarity with the work and thus their inability to coordinate slides before the recording session. Despite the sepulchral bass line, and some infelicities (tuttis are a bit muddled), the slow introduction is richly characterized. Where a decision may have been foisted on Walter is the side change at 5:05 in Schumann’s Manfred Overture, where he edges slowly to the end of the side. It makes for a rather sticky moment. Again, though, this was a premiere performance on disc and if the winds are not on their best behavior, being rather shrill, it adds to the generation of heat and energy. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Hebrides Overture has a rather more steely surface, and a bit of scuffing, but Ward Marston has done a fine job here, as elsewhere, managing the Scylla and Charybdis business of surface noise and frequency response with his usual sensitive judgment; retention of the former enhances the latter. My only complaint is no one’s fault; those bass reinforcements sound a bit sleazy here. The longest overture is Wagner’s Faust, which was recorded on three shellac sides, and another first-ever recording. Like Coriolan it was recorded on August 1, 1923, and responds well to his direction. The final item is Berlioz’s Benvenuto Cellini Overture. I suspect that if you were in the habit of playing the “who recorded what first” game (a perilous one) you’d have come up with two dozen names before you’d come up with Walter’s. Yet Walter it was, and he directs in a rather charmingly ebullient way. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eDG (2740 259) reissued Coriolan, though I’ve not had access to it for comparative purposes. Walter remade the Schumann in Chicago in 1956 for a WGN-TV telecast, and the Mendelssohn with the New York Philharmonic Symphony live in 1948 (Music \u0026amp; Arts CD714), with which orchestra he also recorded the Berlioz, though I’m unaware if it’s been released commercially. In 1939, with the NBC, he recorded the Faust Overture. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAs James A. Altena pointed out in his review in Fanfare 35:6, the orchestral attribution in Pristine’s documentation is a little shaky and omits reference to the contribution of the Berlin Philharmonic. Walter admirers will find much to interest and intrigue in this selection. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJonathan Woolf \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC322.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis release at Pristine explores the earliest recordings of a\nlegendary twentieth century musician. Bruno Walter's career as a conductor may\nhave pre-dated these recordings by a number of years, but in these six rare\nacoustically-recorded overtures, with what was then perhaps the finest\norchestra in Germany, the Berlin State Opera Orchestra, we get to hear the\nfirst suggestions of the legend to come.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMultiple award-winning producer Ward Marston has worked miracles\nin the sound quality achieved from these 1923-25 discs - despite the\nlimitations of the pre-microphone era they really are an outstanding record of\nWalter's early recorded brilliance.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eWALTER\u003c\/b\u003e Polydor Acoustics Volume 2: Overtures (1923-25)\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 August 1923\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices 73az and 74 az; Polydor 65928\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCHERUBINI\u003c\/b\u003e Der Wasserträger - Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 January 1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices 647 az and 648az; Polydor 66073\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 March 1925\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices 1836 1\/2 as 1837as; Polydor 66074\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Die Hebriden Overture (Fingal's Cave)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 August 1923\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices 82 ½az and 83az; Polydor 65930\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Faust Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 August 1923\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices 1519as, 71az and 72az; Polydor 65955\/56\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e Benvenuto Cellini – Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 January 1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices 621½az, 622az, and 623az; Polydor 66075\/76\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Ward Marston\u003cbr\u003eCover artwork based on a 1912 photograph of Bruno Walter\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eWe are grateful for the use of the discs for these transfers from the collection of David Schmutz\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\/PASC322.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC322.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":34132993677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34132993741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC322.jpg?v=1489574722"},{"product_id":"pacm014","title":"SCHNABEL \u0026 PRO ARTE QUARTET Schumann: Piano Quintet (1934) - PACM014","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Quintet in E-flat major, op. 44\u003cbr\u003eAbbey Road Studio 3, London, 19 November, 1934\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eDuration 30:32\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eArtur Schnabel\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Pro Arte Quartet\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM014.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOf\n all of his chamber music, the Piano Quintet is perhaps the finest, and \nshows the composer in brilliant, extrovert mood - fluent, melodic and \ntruly captivating. It is also the first Piano Quintet of real greatness -\n the form was ignored by Beethoven and Haydn, whilst the closest Mozart \ncame to it was in his two piano quartets. The Piano Quintet was also the\n piece which really established Schumann's name among the great \ncomposers.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis 1934 recording brings together some of the finest players of the day; \u003cb\u003eSchnabel\u003c\/b\u003e displays sheer brilliance at the keyboard, whilst the \u003cb\u003ePro Arte Quartet\u003c\/b\u003e,\n at the peak of their powers, spark off each other to wondrous effect. \nThe interplay between all performers is at once captivating and \ndazzling, as this newly remastered recording shows perhaps better than \never before.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003eSCHNABEL \u0026amp; \u003cb\u003ePRO ARTE QUARTET\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Piano Quintet (1934)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Quintet in E-flat major, op. 44\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro brilliante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. In modo d'una Marcia — Un poco largamento\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (molto vivace) and Trios\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro, ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Abbey Road Studio 3, London, 19 November, 1934\u003cbr\u003eOriginally released in 1935 as HMV 78s, DB. 2387-2390\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix numbers: 2EA535-IIA, 2EA536-I2EA537-III, 2EA538-II, 2EA539-II, 2EA540-1, 2EA541-I, 2EA542-II\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 30:32\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eArtur Schnabel\u003c\/b\u003e, piano\u003cbr\u003eThe \u003cb\u003ePro Arte Quartet\u003c\/b\u003e:\u003cbr\u003e\u003cb\u003eAlphonse Onnou\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eLaurent Halleux\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGermain Prevost\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRobert Maas\u003c\/b\u003e, cello\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\/PACM014.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM014.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":31418247949,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418248013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM014_9a51dad0-6e01-4830-8c41-a7b7dcca7c18.jpg?v=1487682533"},{"product_id":"pasc401","title":"CASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto (stereo recording)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and Live Recordings · 1953 and 1960\u003cbr\u003eTotal duration: 64:30\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra, Eugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico, Alexander Schneider\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnyone who has looked attentively at \nthe headnote will already have observed that this is not the classic \naccount of Dvořák’s B-Minor Concerto that Casals recorded with George \nSzell and the Czech Philharmonic in 1937. Instead, this is a pirate \nrecording that has (or at least did have) a legendary status among \ncollectors of historic recordings, albeit for an idiosyncratic reason. \nThe live performance from Puerto Rico was originally taped for intended \ncommercial release by the Everest label. However, the label changed \nhands while the tape was still waiting approval by Casals for release. \nThe tape was subsequently found in a box; the new owners assumed that \npermission to release it had already been obtained and issued it on LP. \nCasals promptly sued, charging damage to his reputation, and Everest \nrecalled the LPs. The few copies that had been sold promptly became \ncollectors’ items, commanding hundreds or even thousands of dollars \nwhenever one turned up on a used record dealer’s list. Eventually, a CD \ntransfer appeared on the AS disc label from Italy in the late 1980s, \nwhich was how I finally made its acquaintance (spending a mere six \ndollars for a used copy and congratulating myself on obtaining the \nbargain of the century). More recently, a Memories CD appeared with the \nidentical coupling as on this Pristine Audio disc, and I duly replaced \nthe AS Disc with that copy. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor anyone considering acquisition of this disc, then, the questions that arise are: \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e1) How does this performance of the Dvořák Concerto compare with the 1937 studio version? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e2) How does the sound quality of this issue compare with that of previous versions? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe answer to the first question is \nrather complex. Casals was 84 years old (or young) at the time of this \nperformance, and it is universally conceded that his technique was no \nlonger what it once was in his prime. There are some rough bow strokes \nand attacks, and in particular quite a number of lapses in intonation, \nsome minor but a few major. When compared to the immaculate precision of\n his 1937 studio account, one can readily see why Casals might sue to \nblock issuance of this release on ground of damage to his reputation. \nAnd yet....And yet....From the moment I first heard this performance it \nbecame, despite these evident flaws, not only my preferred version over \nthe 1937 account, but one of my favorite recordings of this \nconcerto—which, given that the work belongs to my short list of all-time\n favorites, is saying quite a lot. For all its fame, the 1937 account \nhas never really won my heart rather than my respect, for reasons \ndetailed by Bernard Jacobson in his review of an EMI rerelease back in \n29:2. (For more conventionally laudatory reviews, see those by John \nBauman in 13:1 and Jerry Dubins in 34:6. By contrast, Szell’s stereo \naccount with Pierre Fournier is one of my preferred versions.) But in \nthis live performance, Casals seems to be pouring out his life’s blood; \nthere is not a single other recording by him I have heard, live or \nstudio, that has such gripping ardor. When faced with artistry of this \nintensity from a deservedly legendary figure, cavils about technical \nlapses become for me irrelevant niggling quibbles. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo this one must add the absolutely \nmasterful conducting of Alexander Schneider, second violinist of the \ncelebrated Budapest Quartet from 1932 to 1943 and again from 1955 to \n1967, who was instrumental in persuading Casals to renounce his \nwithdrawal from public performance in protest against the Franco regime \nin Spain return to concertizing at Perpignan, Marlboro, and Prades. One \nwonders if the multi-faceted Schneider missed his true musical calling \n(he also turned down a offer to conduct at the Metropolitan Opera), so \ncompletely does he command every expressive nuance of this score. I do \nnot know if the orchestra was an\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e ad hoc \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eensemble\n assembled for the festival or a local orchestra playing under an \nassumed name, but it too plays its collective heart out with a \ndedication that could put many far starrier ensembles to shame. \nAdmittedly, all of this is a highly subjective response; I wouldn’t \ncriticize anyone who found the faults in Casals’s playing here to be \nreason enough to prefer the 1937 studio version instead. But I would \nurge you to give this a hearing, and see if it doesn’t win your \naffections as it did mine. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second question is much more easily\n addressed. In the Schumann, the sound quality of the Memories CD and \nthis one is very close; I slightly prefer the Memories issue, but only \nby a hair’s breadth. The Dvořák Concerto, however, is another matter \nentirely; with access to two genuine stereo Everest LP releases for \nmaking its transfer, Mark Obert-Thorn has produced a vastly superior \nversion with sound quality that renders every previous issue obsolete. \nIf you have one of those previous versions, replace it with this one \nimmediately and prepare to be amazed at the difference. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBy contrast, the Schumann is a much \nbetter-known recording with a far more ordinary history, having first \nappeared on a Columbia LP, albeit with the conductor curiously \nuncredited, presumably for contractual reasons. (Contrary to a note on \nthe front cover of this release, it too is a live and not a studio \naccount, as the loud opening groan from Casals as he plays his first \nphrase reveals.) The piece itself is highly problematic, of course, and I\n don’t ever recall seeing a review that ranks this as one of the \npremiere versions that overcomes the score’s deficiencies. That said, it\n is still a Casals performance—and this, the two of the Dvořák, and the \nElgar, are his only recordings of major concertos—played with his unique\n interpretive authority, and Ormandy is certainly no podium slouch. The \nmonaural sound quality is clear and solid, albeit with some underlying \ntape hiss. The cover art of Casals playing his cello is quite \nattractive, a great advance upon Pristine’s previous graphics. While for\n the reasons stated above this is too subjective a choice to put on my \n2014 Want List, I’ll still go out on a limb and give this my strongest \nrecommendation; I simply couldn’t imagine being without it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC401.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAt the end of the Second World War, Pablo Casals \nhoped that the Allied forces which had just ousted Hitler would now turn\n their attention to removing the dictator Franco from Spain. When they \nshowed no inclination to do so, he broke off a London recording session \nof the Haydn D Major Cello Concerto in October, 1945 and withdrew to his\n French home in Prades near the Spanish border, vowing not to perform \npublicly again until democracy was restored to his homeland.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHe was drawn out of his self-imposed silence by \nBudapest Quartet violinist Alexander Schneider, who first approached him\n for coaching help with the Bach violin suites, and who later suggested \nholding a festival in Prades to mark the 200th anniversary of Bach’s \ndeath in 1950. American Columbia was brought in to make recordings, a \nseries which continued as the festival expanded its purview beyond Bach \nand moved to larger quarters in nearby Perpignan in 1951, returning to \nPrades the following year.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhile Casals had conducted and played in chamber \nmusic performances, the Schumann from the 1953 festival was his first \nconcerto recording as a soloist since the aborted Haydn set. \nInterestingly, master accompanist Eugene Ormandy was not credited on the\n original LP, nor on its first reissue in the budget-priced Odyssey \nseries, probably for contractual reasons. In 1957, a new series of \nCasals festivals was begun in Puerto Rico, where the cellist had \nrecently married and made his home. It was there that his final concerto\n recording was made.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Dvořák has an interesting history. Recorded by \nEverest during the 1960 Puerto Rico festival, it remained unapproved \nwhen the label changed hands shortly thereafter. The new owners found \nthe tape in a box and issued it, believing they owned the rights. Casals\n promptly sued to have the release withdrawn, claiming it damaged his \nreputation. It has never subsequently been reissued in any authorized \nedition from the Everest masters, although a couple European CD \nreleases, apparently transferred from monaural sources, have appeared. \nThe original suppressed LP is now a highly sought-after collector’s \nitem. I was fortunate to have two stereo pressings in good condition to \nwork from for the present transfer. (The first note, incidentally, is \nclipped on the original recording.)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhile Casals is admittedly not in top form, his \nperformance brings to mind Dr. Johnson’s famous Eighteenth Century \nwitticism likening a woman preaching to a dog walking on its hind legs \n(“It is not done well; but you are surprised to find it done at all.”) \nConsidering that he was in his 84th year at the time, it is a remarkable\n achievement; and Schneider’s heartfelt, sympathetic accompaniment \nmatches his soloist like the veteran chamber player he was. It’s an \nautumnal reading quite different from Casals’s brisker 1937 recording \nwith Szell (Pristine PASC 246), and one which despite its flaws deserves\n to be heard.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e, \u003cb\u003eDvorak\u003c\/b\u003e: Cello Concertos (1953\/60)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A Minor, Op. 129\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Nicht zu schnell\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Langsam\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Sehr lebhaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 May 1953 in L’Église St-Pierre, Prades\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia ML-4926\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCello Concerto in B Minor, Op. 104 (\u003ci\u003eSTEREO recording\u003c\/i\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Everest SDBR 3083\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLive recording, Spring, 1960, in the Theatre of the University of Puerto Rico, San Juan\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e  cello\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\/PASC401.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC401.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\/Mono 16-bit FLAC","offer_id":90077134874,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo\/MonoMP3","offer_id":90077167642,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC401.jpg?v=1501752100"},{"product_id":"pasc447","title":"CORTOT Concertos, Volume 2: Schumann \u0026 Bach (1927-37) - PASC447","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto\u003cbr\u003e\u003cb\u003eBACH \u003c\/b\u003eBrandenburg Concertos\u003cbr\u003e\u003cb\u003eBACH (ARR. CORTOT)\u003c\/b\u003e Organ Concerto No. 5\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1927-1937\u003cbr\u003eTotal duration: 2hr 15:24\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano, conductor\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLandon Ronald\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eGabriel Bouillon\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eRoger Cortet\u003c\/b\u003e, flute\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eOrchestre de l'Ecole Normale de Musique de Paris\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC447.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The second movement, for the trio alone, is an everlasting retreat of beauty\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese recordings demonstrate three sides of Cortot's musicianship: \nhis second (of three!) outing as soloist in the Schumann Concerto, a \nfine 1927 recording; his conducting of the six Brandenburg Concertos, \nwhich include an outing as piano soloist in the fifth (it is unclear \nwhether he plays harpsichord in the other concertos), recordings of \nconsiderably variable sound quality; and his own arrangement for piano \nof Bach's Organ Concerto No. 5, itself a re-working of a concerto by \nVivaldi for two violins and cello, well-recorded in 1937.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEach recording presented a variety of technical challenges, and some \nnoisy sides in the Brandenburgs proved exceptionally troublesome. \nCapstan pitch stabilisation has been deployed throughout, to \nconsiderable effect in solidifying the sound, whilst XR remastering has \ndone much to improve the tonal balance of each recording.  \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCORTOT\u003c\/b\u003e Concertos, Volume 2: \u003cb\u003eSchumann\u003c\/b\u003e \u0026amp; \u003cb\u003eBach\u003c\/b\u003e (1927-37)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Piano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro affettuoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Intermezzo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded: Queen's Hall, London, 22 June 1927\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV DB.1059-62, Matrix Nos. CR 1398-1405\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e, conductor: \u003cb\u003eLandon Ronald\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concertos, BWV 1046-1051\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded: Salle de l'Ecole Normale, Paris\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. [Allegro]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June, 1933, HMV DB.2033-34, 2.PG.806-809\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. [Allegro]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May, 1933, HMV DB.2035-36, 2.PG.801-803\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. [Allegro moderato]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 December, 1931, HMV DB.1259-60, 0W.1024-27\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 May, 1933, HMV DB.2037-38, 2PG.797-800\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Affettuoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16-17 May, 1932, HMV DB.1783-84, 2L.411-414\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Brandenburg Concerto No. 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. [Allegro moderato]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Adagio ma non tanto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 4 December, 1931, HMV DB.1626-27, 2W.1033-36\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, conductor, piano (concerto No. 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGabriel Bouillon\u003c\/b\u003e, violin (concerto No. 4)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRoger Cortet\u003c\/b\u003e, flute (concertos Nos. 4, 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin (concerto No. 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de l'Ecole Normale de Musique de Paris\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH arr. Cortot\u003c\/b\u003e Organ Concerto No. 5 in D minor, BWV 596\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Prelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Sicilienne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Toccata\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded: Abbey Road Studio 3, 18 May 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV DB.3261-2, Matrix Nos. 2EA. 4930-32\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003c\/span\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\/PASC447.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC447.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":31975487245,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975487373,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975487501,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975487565,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC447_fc33b925-fd80-48dc-8274-1b75c0acfca0.jpg?v=1487682026"},{"product_id":"paco116","title":"DANCO The Complete Schumann Recordings (1949\/52) - PACO116","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eDichterliebe, Op. 48\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Liederkreis, Op. 39\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings · 1949 \u0026amp; 1952\u003cbr\u003eTotal duration: 51:35\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSuzanne Danco\u003c\/b\u003e - soprano\u003cbr\u003e\u003cb\u003eGuido Agosti\u003c\/b\u003e - piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe issue, of course, is what she sounds like to us, 65 years later, and the answer is, pretty good, especially as she gets into Dichterliebe578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis disc came as something of a \nsurprise. Two surprises, really, because I had always associated Suzanne\n Danco (1911–2000) with the Franco-Italian opera repertory, though \nAndrew Rose, the producer, says she was in fact more known for her \nrecitals, and that certainly seems to be the case for her recordings. \nThis one is in German, in cycles more often associated with male singers\n (for no particularly good reason, by the way). As near as I can tell, \nthese were her only recordings of songs by Schumann and her only \nrecordings of complete cycles in German. Both were done in studios, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDichterliebe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in London in 1949, and the (Eichendorff) \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLiederkreis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in Geneva in 1952. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe issue, of course, is what she \nsounds like to us, 65 years later, and the answer is, pretty good, \nespecially as she gets into \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDichterliebe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n To judge from these recordings, her voice did not have that dramatic \nheft we might associate with these songs, such as we can hear for \ninstance in the 1941 recording by Lotte Lehmann. In those songs that \nplay to Danco’s lower register—No. 6 in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDichterliebe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n for instance, “Im Rhein”—she can bring some weight to bear, but as the \nvoice goes up, it thins out and her characteristic quick vibrato becomes\n more evident. If that bothers you in our now vibrato-free age, then \nthis recording is not for you. However, I found myself listening past \nthat vibrato to other pleasures. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI am always impressed by how much \nSchumann can get into his frequently brief songs. He has such an \nenviable sense of completeness in a small space. Danco had a good grasp \nof the text; this is not just words attached to notes. She sees to it \nthat the words and the notes take us together though the songs. In these\n small journeys, she is wonderfully abetted by her accompanist, Guido \nAgosti (1901–1989), whom I much regret never having heard before. It is a\n real partnership and itself one of the attractive aspects of this disc.\n In the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLiederkreis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the piano is recorded slightly farther from the singer than in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDichterliebe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n but it also strikes me that Danco herself is slightly more comfortable \nin this shorter cycle, which doesn’t, of course, bear as much dramatic \nweight as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDichterliebe. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe other attractive aspect, of course,\n is the recording itself. I am constantly amazed at what can be done to \nrescue early recordings, and Andrew Rose deserves, well, roses for his \nwork. As seems to be Pristine’s custom, there are only a few notes on \nthe insert, and the only new ones deal with the sources for the \ntransfers. The texts and program notes must be hauled off the company’s \nweb site. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eI am obliged to note that this disc is\n a bit short. These recordings seem to be the same as those issued in \n2007 by Hafg, which also included five Schubert songs: As near as I can \ntell, those are the only Schubert songs Danco ever recorded. I have not \nheard that recording, and it dates the present recordings a year later \nin each case, but I cannot imagine its transfers to be better than those\n here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eAlan Swanson\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO116.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eFirst digital release of her 1949 Dichterliebe - \"The present recording will give much pleasure” (The Gramophone)\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Belgian soprano Suzanne Danco (22 January 1911 – 10 August 2000) \nsang in and recorded a number of operas, but is perhaps better known and\n remembered for her concert recitals and song cycle recordings. Yet in \nher twenty-two studio engagements for Decca between 1947 and 1956 she \nmade only two recordings of the music of Robert Schumann - the two song \ncycles presented here. In both instances the Italian pianist Guido \nAgosti (11 August 1901 – 2 June 1989) accompanied her, as he would do \nfor the majority of her song recordings.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOnce again I am grateful to collector Richard Morris for loaning the \nrare Decca 78s for the present transfer of Dichterliebe - its first \nappearance in the digital age. The recording apparently also appeared on\n a 10\" LP, LX.3039, but I was unable to source a copy on vinyl. It is \ntherefore unclear as to whether the vinyl issue was a 78rpm transfer or \ndirectly mastered from tape. The answer may in fact be somewhat academic\n as Decca's earliest LP pressings were not the best: I managed to find \ntwo copies of Liederkreis on 10\" LP, one a near-mint British pressing on\n the US London label, the other a French pressing acquired from a Swiss \ncollector. Despite the latter having acquired more clicks and crackles \nover the years, the former suffered considerably from surface swish \nbaked into the vinyl, and proved decidedly inferior. Of the two it's the\n earlier which is perhaps the better recorded, with a more even balance \nbetween singer and piano and a very slightly better tone for the latter.\n Both managed to capture the clarity and purity of Suzanne Danco's voice\n very well indeed.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eDANCO\u003c\/b\u003e The Complete \u003cb\u003eSchumann\u003c\/b\u003e Recordings (1949\/52)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eDichterliebe, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Im wunderschönen Monat Mai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Aus meinen Tränen sprießen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Die Rose, die Lilie, die Taube, die Sonne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Wenn ich in deine Augen seh\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Ich will meine Seele tauchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Im Rhein, im heiligen Strome\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Ich grolle nicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Und wüßten's die Blumen, die kleinen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Das ist ein Flöten und Geigen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. Hör' ich das Liedchen klingen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. Ein Jüngling liebt ein Mädchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Am leuchtenden Sommermorgen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e13. Ich hab' im Traum geweinet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e14. Allnächtlich im Traume\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e15. Aus alten Märchen winkt es\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e16. Die alten, bösen Lieder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26-28 April, 1949\u003cbr\u003eWest Hampstead Studios,London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Decca 78s AK.2310-12\u003cbr\u003eMatrix Nos. AR 13428-33\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eLiederkreis, Op. 39\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. In der Fremde\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Intermezzo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Waldesgespräch\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Die Stille\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Mondnacht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Schöne Fremde\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Auf einer Burg\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. In der Fremde\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Wehmut\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. Zwielicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. Im Walde\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Frühlingsnacht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 April, 1952\u003cbr\u003eVictoria Hall, Geneva\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Decca LP LX 3107\u003cbr\u003eMatrix Nos. SAR 637-42\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSuzanne Danco\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eGuido Agosti\u003c\/b\u003e, piano\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\/PACO116.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO116.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":31975490893,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975491021,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975491149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975491277,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO116_15d6d8ff-f912-4a2d-bb88-8d60f0353fe9.jpg?v=1487682033"},{"product_id":"pasc408","title":"DOHNÁNYI plays Dohnányi, Haydn, Beethoven, Schumann (1951\/56) - PASC408","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI\u003c\/b\u003e Variations on a Nursery Tune\u003cbr\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Andante and Variations in F minor\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Andante favori\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Sonata No. 17 in D minor (“Tempest”)\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Kinderszenen.\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio Recordings · 1951\/56\u003cbr\u003eTotal duration: 79:18\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eErnö Dohnányi\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe restoration of the Remingtons has been a valuable feature of these releases578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eWe are moving to a position where almost all Dohnányi’s recordings as a \npianist are available; certainly in the case of the studio recordings. \nThis release completes the release of his Remington LP performances \nbegun on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Nov11\/brahms_sonatas_spalding_PACM078.htm\"\u003ePACM078\u003c\/a\u003e – the three Brahms sonatas with violinist Albert Spalding, somewhat painful examples of late Spalding - and \u003ca href=\"http:\/\/www.musicweb-international.com\/classRev\/2013\/June13\/Dohnanyi_plays_Dohnanyi_PASC381.htm\"\u003ePASC381\u003c\/a\u003e, where we find his own Violin Sonata, again with Spalding, and the \u003cem\u003eFour Rhapsodies\u003c\/em\u003e.\u003cbr\u003e  \u003cbr\u003e\n Haydn’s Andante and Variations in F minor, Hob. XVII:6 was taped for \nRemington in 1951 and displays a degree of expressive romanticism to \nemerge from, or – if one is unsympathetic – to be overlain on the music.\n Beethoven’s \u003cem\u003eAndante favori\u003c\/em\u003e, from the same time, is a \nconvincing performance of largely unchallenging music and prefaces the \ngreater challenges of the Sonata in D minor, the \u003cem\u003eTempest\u003c\/em\u003e. Here \none gets something of an insight into Dohnányi’s recreative conceptions \nthough they are ones somewhat compromised by a technique that is liable \nto strain in the finale. Nevertheless this is an important document in \nhis discography and it is invaluably made available here, in a fine \ntransfer, insofar as any transfer of a Remington disc can be said to be \nfine; certainly the restoration is fine. These pieces were released on a\n different LP to that of Schumann’s \u003cem\u003eKinderszenen\u003c\/em\u003e, recorded, I \nassume, at the same time, or around the same time. The interesting \nfeature of this 1951 LP is that we hear spoken introductions (in \nEnglish), by the pianist, to each scene. The overriding feature here is \nof a romanticist approach to the music in which \u003cem\u003elegato\u003c\/em\u003e and \u003cem\u003erubato\u003c\/em\u003e play a profoundly important role. There are times when he comes almost to a full stop, though the mock heroics of \u003cem\u003eAn Important Event\u003c\/em\u003e are well done. \u003cem\u003eTräumerei\u003c\/em\u003e\n is not too slow, with a flexible pulse, and one really does feel the \nchild does indeed fall asleep in the penultimate scene. The poet, \nspeaking, is very plain-speaking indeed; no Carl Friedberg here.\u003cbr\u003e  \u003cbr\u003e The most familiar item is the only non-Remington, the September 1956 Abbey Road recording of the \u003cem\u003eVariations on a Nursery tune\u003c\/em\u003e.\n He had recorded it in London a quarter of a century earlier with \nLawrence Collingwood but here had the advantage of Boult – there were \nattempts to interest Beecham with, after all, his own orchestra, but \nthey fell through – directing the Royal Philharmonic. This was recorded \nat the same sessions that gave us the Second Piano Concerto, released on\n Pristine \u003ca href=\"http:\/\/www.musicweb-international.com\/classRev\/2013\/June13\/Dohnanyi_plays_Dohnanyi_PASC381.htm\"\u003ePASC381\u003c\/a\u003e.\n The earliest releases were on mono LP but this Pristine has been \ntransferred from a stereo LP release, and very successfully too.\u003cbr\u003e  \u003cbr\u003e\n The disc could hardly be packed more to the gills than it is: 79 \nminutes of Dohnányi. The restoration of the Remingtons has been a \nvaluable feature of these releases.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International, September 2014\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC408.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The\n aged composer tosses off a dashing, youthful-sounding performance that \ncatches the warmhearted irony of the music\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis release completes the reissue of Dohnányi’s Remington recordings\n which was begun with the three Brahms Violin Sonatas with Albert \nSpalding (Pristine Audio PACM 078) and continued with recordings of his \nown Violin Sonata (again with Spalding) and Four Rhapsodies (PASC 381).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with the previous reissues, Remington’s original engineering and \npressings posed several restoration challenges. Probably the most \nsignificant hurdle was locating quiet pressings in good condition. \nRemington was the original “budget” LP label, and their cost-cutting \nmanifested itself most noticeably in the quality (or lack thereof) of \nthe material on which they were pressed. Initial releases featured a \nhard, plastic-like compound high in surface noise, while later issues \nwere on somewhat quieter vinyl. All of the Remington recordings on the \ncurrent release were taken from pristine copies of the later editions.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the case of the Schumann Kinderszenen (with spoken announcements \nin English by the pianist), this posed a dilemma. The early pressings \nare extremely noisy, with some of the softer passages almost lost in \nsurface crackle. In the later pressings, however, there appears to be a \ntape tracking problem which causes a watery sound on some of the \nselections. In the case of “Wichtige Begebenheit”, these were serious \nenough that I was forced to patch in the version from the earlier \npressing. For the remaining items, I felt that the trade-off favored the\n later edition, even with its flaws.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNo such reservations need apply to the EMI recording of Dohnányi’s \nVariations on a Nursery Tune with Boult. Recorded at the same sessions \nas his Second Piano Concerto (PASC 381), it was a return to a work the \ncomposer\/pianist had first recorded in London 25 years earlier under \nLawrance Collingwood (PASC 252), but this time on stereo tape rather \nthan wax 78 rpm masters. It has been transferred here from a British LP \npressing.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eDOHNÁNYI\u003c\/b\u003e plays \u003cb\u003eDohnányi\u003c\/b\u003e, \u003cb\u003eHaydn\u003c\/b\u003e, \u003cb\u003eBeethoven\u003c\/b\u003e, \u003cb\u003eSchumann\u003c\/b\u003e (1951\/56)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Andante and Variations in F minor, Hob. XVII:6\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Andante favori in F major, WoO 57\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Sonata No. 17 in D minor, Op. 31, No. 2 (“Tempest”)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Largo — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eShared recording information:\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Remington RLP-199-16, rec. 1951\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eKinderszenen, Op. 15 (Scenes of childhood)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Von fremden Ländern und Menschen (About strange lands and people)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Kuriose Geschichte (Curious story)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Hasche-Mann (Playing tag)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Bittendes Kind (Entreating child)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Glückes genug (Contentment)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Wichtige Begebenheit (Important event)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Träumerei (Dreaming)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Am Kamin (By the fireside)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Ritter vom Steckenpferd (The knight of the hobbyhorse)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. Fast zu Ernst (Almost too serious)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. Fürchtenmachen (The bogeyman)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Kind im Einschlummern (Child falling asleep)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e13. Der Dichter spricht (The poet speaks)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Remington RLP-199-43, rec. 1951\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDOHNÁNYI\u003c\/b\u003e Variations on a Nursery Tune, Op. 25 [STEREO]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(23:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on HMV ALP 1514\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 – 11 September 1956 in Abbey Road Studio 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTrack 19: \u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eErnö Dohnányi\u003c\/b\u003e, piano\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC408.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC408.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=\"bodybigblue\"\u003e\u003cb\u003eErnö Dohnányi\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAt one time the list of recordings of Dohnányi’s music, some in the \ncomposer’s own performances, was quite impressive, but now, apart from \nfour versions of his \u003cem\u003eVariations on a Nursery Song\u003c\/em\u003e for piano and\n orchestra there are only the early Piano Concerto, an orchestral suite,\n the Cello Sonata and one of the four Piano Rhapsodies.\u003c\/p\u003e\u003cp\u003eErnö Dohnányi, or Ernst von Dohnányi as for a time he preferred to be\n called, was born in Poszony (Pressburg) in Hungary on July 27th, 1877 \nand died in New York on February 11th, 1960. Brilliantly gifted from \nchildhood, he began to study the piano and later harmony with the local \ncathedral organist at the age of eight and by the time he went to the \nAcademy of Music in Budapest in 1893 he had written a string sextet, \nsome string quartets, piano pieces and songs. His Symphony in F gained \nfor him the King’s Prize in 1897, in which year he made his début as a \npianist in Berlin and Vienna, having worked with Eugen d’Albert for a \nshort time. A year later he played one of Beethoven’s piano concertos at\n a Richter concert in London’s Queen’s Hall. Over the years he travelled\n extensively and became very popular in America, and among the \nappointments he held at different times were professor of piano at the \nBerlin High School of Music, Director of the Budapest Conservatory, \nconductor of the Budapest Philharmonic Orchestra and Director of \nHungarian Radio. For political reasons he left Hungary in 1946 and \ntaught in Argentina for a year or so before being appointed \ncomposer-in-residence at the Florida State University in Miami.\u003c\/p\u003e\u003cp\u003eDohnányi would seem to have been blessed with a broad and simple \nsense of humour, clearly revealed in his tongue-in-check opening to the \u003cem\u003eVariations on a Nursery Song\u003c\/em\u003e,\n He had a fund of entertaining stories, one of which relates to two \nministers in Glasgow. They had flats on the first floor and periodically\n one would drag his piano into the other’s flat so that they could play \nduet sonatas. Not very skilled performers, they were delighted when \nafter several less successful attempts one evening they finished \ntogether. After a celebratory noggin of whisky one said, “Splendid \nDonald, now let’s try the second movement” and Donald replied “But, man \nAngus, that was the second movement that I was playing”.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eW. A. Chislett, Gramophone\u003c\/b\u003e, July 1977\u003c\/p\u003e\u003cp\u003e\n\u003cbr\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":"Ambient Stereo 16-bit FLAC","offer_id":37198599821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37198599885,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37198600013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC408.jpg?v=1494407269"},{"product_id":"pakm066","title":"DORFMANN plays Grieg, Mendelssohn and Schumann - PAKM066","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Piano Concerto in A minor, Op. 16\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003ePiano Concerto No. 1 in G minor, Op. 25\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Carnaval, Op. 9  [STEREO recording]\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1953-59\u003cbr\u003eTotal duration: 74:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAnia Dorfmann\u003c\/b\u003e. piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA CD to which I will be listening for the rest of my days578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOdessa-born Ania Dorfmann (1899–1984) \nwas one of many artists who came to the United States prior to World War\n II. She had the additional cachet (which ultimately may have limited \nher career as much as it helped) of having been close to the Toscanini \nfamily—an intimate friend, or nearly. She appeared in the Maestro’s 1939\n Beethoven cycle as pianist in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChorale Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and later as soloist in the First Piano Concerto. She made a studio \nrecording of that work in 1945. She also appeared in a gala wartime \nconcert in which she was the keyboard artist in Toscanini’s only U.S. \nperformance of Beethoven’s Triple Concerto. These various performances \nof Beethoven are quite readily available. They are discussed in the \nexcellent notes accompanying this disc. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn pre-war Great Britain, she made the \nrecording which set her on the road to a significant career: \nMendelssohn’s Piano Concerto No. 1, which she performed for 78-rpm \ndiscs, joined by Walter Goehr and Beecham’s London Philharmonic of the \nday. This sprightly performance sold well, was positively reviewed, and \ngreatly expanded her reputation. She was, of course, already well in her\n 30s and a mature artist. RCA contracted her in the early LP era. Her \nbiggest venture was a three-disc set of Mendelssohn’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs Without Words\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (monaural issue), which I recall as being extremely lovely; well \nplayed, well phrased, and well recorded. To my best knowledge those have\n never been reissued … another project for Pristine Classics, perhaps, \nif this disc sells! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRCA recorded the Philadelphia Orchestra, under exclusive contract to Columbia Masterworks, under the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enom du disque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Robin Hood Dell Orchestra of Philadelphia. Almost every summer, for a \nfew years, there would be a recording or two, including superb Kapell \nrecordings of Rachmaninoff, the Second Concerto led by Steinberg, and \nlater the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePaganini Rhapsody \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n Reiner on the podium. Those remain my recordings of choice for the two \nworks. In July 1953, RCA returned to the Academy of Music to make its \nlast Robin Hood Dell recordings, the two concertos under discussion \nhere: the Mendelssohn on July 7 and the Grieg the next day. The \nperformances were issued on its budget Bluebird label, LBC 1043. I \nbought my copy the day it appeared in my local record store, in late \n1954 or early 1955. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf the Mendelssohn First did not quite \nequal the pre-war set for brio, it came very close and surely featured a\n smoother orchestral contribution. Leinsdorf is just a trifle heavy of \nhand at a few points in the first movement, but Dorfmann plays the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n touchingly, with depth of feeling and a lovely tone. The finale really \ntakes off. At the time there was little post-war competition; I think \nDecca had recorded the work with Lympany, but Decca releases were not \neasy to locate in this country until a bit later in the 1950s, so the \nDorfmann LP had the field almost to itself. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSuch was not the case with the Grieg. \nMany recordings were available, and RCA struggled for some years to find\n the one it wished to market. Rubinstein’s 78-rpm version (a 1942 \nAcademy of Music collaboration with Ormandy—the first concerto recording\n my mother ever purchased) was one of the last RCA-Philadelphia \nrecordings. It was followed at the dawn of the LP era by a remake led by\n Doráti. No one liked the sound, and I don’t much care for the \nperformance. So the field was open for Dorfmann and Leinsdorf. To my ear\n the result of their efforts that July day is one of the loveliest \nrecordings ever made of the charming work. The pianist plays superbly, \nwith great profile. She, Leinsdorf, and the orchestra sound as if they \nare giving a real performance, and because the orchestration is richer \nthan that of the Mendelssohn, we can appreciate the sonic picture even \nmore, particularly in the expanded ambience and bloom Mark Obert-Thorn \nprovides in this reissue. I’ve loved this recorded performance for 60 \nyears and it is a pleasure to welcome it back because it did not long \nremain in the catalog. Rubinstein made an early stereo recording with \nWallenstein which suffered from various shortcomings (sonic among them),\n but in March 1961 those artists made another RCA taping in the \nManhattan Center ballroom which stood as their final statement. A great \nrecording, it is still being marketed. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDorfmann, sadly, had only one opportunity before the stereo microphones. In 1959, RCA recorded her in Schumann: \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnaval\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFantasiestücke. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eAgain, she was replacing an unsatisfactory monaural recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnaval\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e which Rubinstein had made in the mid-1950s. Coupled with a stunning performance of Franck’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude, Chorale, and Fugue\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n that Schumann never met with critical favor, nor did the pianist \nhimself like it. Surely there was more than room for Dorfmann’s disc, \nyet I don’t think it was aggressively marketed and I, an inveterate \ncollector at the time, never saw it. A new Rubinstein LP, with the same \ncoupling as the Dorfmann, was issued in 1963, and I suspect the earlier \nrelease was quietly dropped from active circulation. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eI find Dorfmann’s Schumann a delight. \nShe does not have the variety of touch heard in the classic Rachmaninoff\n recording (which lacks recorded sound such as this), and her scale is a\n bit smaller than that of Rubinstein (whose very fine later recording \nstill fails to equal what I heard him achieve in Constitution Hall, \nWashington, DC, in 1958). What Dorfmann has is excellent fluency, solid \ntechnique, and a world of charm which she brings to Schumann’s shifting \nmoods—and really beautiful sonics. It is a performance to return to and \nin this remarkable sonic framework, it wears very well. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose has applied his pre-echo \nremoval techniques to the stereo sound and the result is a beautiful \npiano tone throughout. I still own the 1963 Rubinstein LP replacement \nand sonically there is no comparison with the sound of Dorfmann as \npresented here. Similarly, Obert-Thorn’s remastering of the always \ndecent source material from the concerto tapes yields sound of \nbrightness and clarity. The sound is better balanced and has as much \npresence as a couple of recently recorded discs which I have recently \nreviewed. Once again, we are in Pristine Classics’ debt and the result \nis a CD to which I will be listening for the rest of my days. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM066.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt is unfortunate that \nAnia Dorfmann is remembered today almost exclusively for being the \nsoloist in Arturo Toscanini’s only studio recording of a Beethoven piano\n concerto.  Her career extended far beyond the Maestro’s orbit, as the \npresent reissue demonstrates. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDorfmann was born in \nOdessa in 1899 to a merchant’s family.  Recognized early on as a \nprodigy, she played her first recital at the age of eleven.  Around this\n time, she also gave a joint concert with the even-younger Jascha \nHeifetz.  Plans were made for her to go to Paris to study with Isidor \nPhillip at the Conservatoire, but the death of her father postponed the \ntrip for several years.  She had been in Paris for less than a year when\n revolution broke out in Russia.  After a visit home, she was only able \nto return to France with some difficulty.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eShe made her début at \nLiège in 1920, and concertized throughout Europe over the next fifteen \nyears, appearing with such conductors as Mengelberg, Beecham and Wood.  \nDuring this period, she made a number of recordings for English \nColumbia, including the Mendelssohn First Piano Concerto with Walter \nGoehr. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn 1936, she made her \nAmerican debut at Town Hall in New York, where critics praised the \n“rapidity and clarity” of her technique.  Horowitz introduced her to his\n father-in-law, Toscanini, and she soon became an intimate of the \nfamily.  (A letter written by Toscanini in Milan in April, 1937 mentions\n “Ania, that friend of Volodya’s (she’s a Russian pianist).  She’s here \nall the time, morning and evening.”)  She was later to collaborate with \nthe conductor on four occasions, all in works of Beethoven:  the Choral \nFantasy (1939); the Triple Concerto (1942); a broadcast of the First \nPiano Concerto with the Reineke cadenza (1944) followed by a studio \nrecording of the work with one of Beethoven’s own cadenzas (1945).  All \nof these have been available on CD.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDorfmann settled in \nAmerica and joined the faculty at the Juilliard School.  She continued \nto concertize and made a number of recordings for RCA Victor during the \n1940s and ‘50s, including the Beethoven “Moonlight” and “Pathétique” \nSonatas, the complete Mendelssohn Songs Without Words, the complete Chopin Waltzes, the Albums for the Young\n of both Schumann and Tchaikovsky, and a recital disc featuring works by\n Liszt, Ravel and Menotti among others.  While her English Columbia 78s \nhave been well covered in CDs from Pearl and Dutton, her RCA recordings \nhave remained largely unreissued. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe two concertos on \nthe present reissue feature The Philadelphia Orchestra in its summer \nguise, and were in fact the last recordings made under the “Robin Hood \nDell” name.  Like her Beethoven and Chopin LPs, they were originally \nreleased on RCA’s budget Bluebird label, but were promoted to full-price\n Red Seal shortly thereafter (LM-2102).  The Carnaval comes from her last (and only stereo) recording, an all-Schumann program which also included his Fantasiestücke.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDorfmann continued to \nteach until a year before her death in 1984, having retired from the \nconcert stage several years earlier.  Now, with the reissue of her later\n recordings such as the ones presented here, a fuller appreciation of \nher considerable artistry becomes possible.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eDORFMANN\u003c\/b\u003e plays \u003cb\u003eGrieg\u003c\/b\u003e, \u003cb\u003eMendelssohn\u003c\/b\u003e and \u003cb\u003eSchumann\u003c\/b\u003e\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Piano Concerto in A minor, Op. 16\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro molto moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro moderato molto e marcato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 July 1953 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on RCA Bluebird LBC-1043\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Piano Concerto No. 1 in G minor, Op. 25\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Molto allegro con fuoco\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto — Molto allegro e vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 July 1953 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on RCA Bluebird LBC-1043\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Carnaval, Op. 9  [STEREO recording]\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePréambule\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePierrot\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eArlequin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eValse noble\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEusebius\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFlorestan\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCoquette\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRéplique\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePapillons\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eA.S.C.H. — S.C.H.A. (Lettres dansantes)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChiarina\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChopin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEstrella\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eReconnaissance\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePantalon et Colombine\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eValse allemande\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePaganini Intermezzo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAveu\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePromenade\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePause\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMarche des Davidsbündler contre les Philistins\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 \u0026amp; 28 – 29 September and 1 – 3 \u0026amp; 8 October 1958 \u0026amp; 14 September 1959 in Town Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on RCA Victor LSC-2207\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRobin Hood Dell Orchestra of Philadelphia\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eErich Leinsdorf\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAnia Dorfmann\u003c\/b\u003e piano\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\/PAKM066.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM066.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":31975512205,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975512269,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM066_c702f84e-c79b-41ab-89e4-e80624de0c2b.jpg?v=1487682048"},{"product_id":"paco109","title":"DUHAN, DENIJS Schumann: Dichterliebe, Schubert: Schwanengesang (1928\/29) - PACO109","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Dichterliebe, Op. 48\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSchwanengesang, D.957\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings · 1928-29\u003cbr\u003eTotal duration: 73:17\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eHans Duhan\u003c\/b\u003e, baritone\u003cb\u003e\u003c\/b\u003e,\u003cbr\u003e\u003cb\u003eFerdinand Foll\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThom Denijs\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eEnni Denijs-Kruyt\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fLieder enthusiasts will want to get this release, and for very good reasons. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat we get on this album are two firsts: the first complete recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchwanengensang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDichterliebe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Both were recorded in 1928, with the former’s sessions shading into the\n first part of the following year. Both were well received by critics at\n the time, though I can’t find any fans of vintage singing ecstatic over\n these performers as is the case with Elena Gerhardt, Karl Erb, and \nCharles Panzéra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHans Duhan (1890–1971) had the more \nnotable career. He debuted as Amonasro in 1914 at the Vienna Court \nOpera, and appeared frequently as Count Almaviva, Scarpia, Don Fernando (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), Pasha Selim, and Frank (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Fledermaus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e). He was the first Daniello in the premiere of Krenek’s jazz opera, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJonny spielt auf\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and both the Music Master and Harlequin in the premiere of the revised version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAriadne auf Naxos\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in 1916. His Lieder recitals took a secondary place to his opera \nperformances, but he was no tyro: He was the first singer to record all \nthree of Schubert’s song cycles, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie schöne Mullerin, Winterreise\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchwanengesang. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDuhan has the advantage in very close miking that reveals a bright, typically white Teutonic tone. Despite having recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchwanengesang \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eover\n four sessions, there’s some evidence that the voice is a little large \nfor the music—or at least that Duhan wasn’t in best voice in the first \nof those sessions, on October 20, 1928, which only resulted in five \naccepted selections. In “Frühlingssehnsucht,” the tone is slightly \nspread on “erfüllt,” and there’s some evidence of strain in “Wie habt \nihr den pochenden Herzen gethan.” “Liebesbotschaft” has a few slurred \nnotes (“Busen,” “Rosen”) and intonation issues at the conclusion of “mit\n kühlen der Fluth.” These last also crop up in “Abschied,” where there’s\n no sense of lightness whatever. He is in better form on all three other\n sessions, though turns and figurations are still occasionally smudged. \nThe finesse and more agile qualities associated with a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebaritono lirico \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emay have been beyond Duhan’s reach when he had become a celebrated \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebaritono cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n (Not that all voices associated with heavier roles are precluded from \nlightening sufficiently. The Soviet lyric dramatic tenor Solomon \nChromchenko was quite capable even late in his career of singing lyric \ntenor arias with great ease and lift.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDuhan is not an “inner” Lied singer. \nThe emphasis isn’t on interpretation of the words, but on voice. He is \nattentive to markings, but he treats each song in a relatively \ngeneralized way. He is at his best in the “Ständchen,” where his steady,\n burnished tone and very clear enunciation are strong assets. “In der \nFerne” reveals him taking his dramatic cues from the music: “Wehe dem \nfliehenden Welt hinaus Ziehenden” may not have the word-by-word coloring\n one desires in this music, but the line overall has a firm directness \nand oppressive weight well suited to its meaning. And he manages a good \nreduction in the thread of tone in the opening line to “Ihr Bild,” \nreflecting the despondency of loss. If this isn’t a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchwanengesang \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto love, it’s certainly one to respect, and is welcome back into the active catalog. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBy contrast, the career of Thom Denijs \n(1877–1935) was more modest, and devoted largely to Lieder rather than \nopera. After a few years in lyric baritone parts with the Amsterdamsch \nLyrisch Toneel, he decided to focus on oratorio and song. He was best \nknown at first for his fine performances in the Bach \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Matthew Passion \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eunder\n Mengelberg’s direction, and then spent much time in Berlin, touring as a\n Lieder singer, accompanied by his wife. (Pristine Audio lists Enni \nDenijs-Kroyt as the pianist in the song cycle. She was not given credit \non the original records, though the chances of anybody else taking part \nare miniscule, given the couple’s lengthy professional partnership.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eUnlike Duhans, Denijs recorded all 16 songs of Schumann’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDictherliebe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eon\n a single day: January 18, 1928. That would be accounted something of a \nfeat by most record companies, even at the time. Unlike tape and \npost-tape methods employed generally since the 1950s, Denijs had to \ncomplete each selection in a single take, evaluate it with his producer \nor engineer, and redo it or move on to the next piece. If there’s a hint\n of strain occasionally at both ends of his vocal spectrum, that’s not \nsurprising. Denijs was already 50, and he was giving his voice, body, \nand mind a very solid workout. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat fine critic and voice teacher, \nHerman Klein, noted the release this way. “A highly artistic rendering …\n and the singer—a most agreeable tenor with baritonal middle notes—has \nobvious intelligence in addition to a refined style, poetic feeling, and\n an unusual command of contrast.” Klein’s method of evaluating range is \ninteresting, but it’s his point about contrast that zeros in on the most\n salient feature of these recordings. “Wenn ich in deine Augen seh” \nbegins with a veiled, softly floating tone, but by “so wer’d ich ganz \ngesund,” the voice has gradually opened up to full throttle. He then \nreduces it quickly in the next line, with an especially magical \nornamented descent on “mich lehn’ an deine Brust.” The recording process\n of the day wasn’t kind to the human voice at its extremes in dynamics, \nand I suspect the reason these records have poor presence is that his \nengineers moved Denijs to a moderate distance from the mike in order to \nprevent overloading. The piano suffers even more in this respect, with a\n boxy, thin, clangorous sound. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performances in any case have a \nrapt, inner feeling. Denijs was an old hand by then at Lieder recitals, \nand he knew how to tell an expressive tale with his voice and treatment \nof words that would leave an audience spellbound. So it goes, elsewhere:\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIch will meine Seele tauchen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n taken down a full step, and even so, Denijs has trouble with the E on \n“hauchen,” but what a wealth of expression there is as he tells a story:\n the careful caress of the “l”s in “Ein Lied von der Liebsten mein,” the\n slight push on the opening digraph of “schauern,” the briefly rapt “wie\n der Kuss,” the sudden delicacy on “wunderbar süsser Stund.” A few of \nthe liberties Denijs takes may seem a bit over the top today, but he was\n abstemious compared to some of his colleagues of the time. In any case,\n despite his obvious study of these works, he never sounds studied; his \nis an art that remains fresh. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eProducer Andrew Rose notes that he’s \ndealt with some variable pitch issues, as well as cleaned up surfaces \nand lessened distortion. This kind of non-invasive approach works \nwonders on these selections. Duhan’s tone is beautifully caught, and the\n full dynamic range and interpretative ability of Denijs likewise are \ncaught very well. Lieder enthusiasts will want to get this release, and \nfor very good reasons. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBarry Brenesal\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO109.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The\n Duhan records of Schubert are not likely to be excelled\" - \"My personal\n choice is for Denijs [in Dichterliebe]\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these song cycle recordings were transferred from HMV 78s \nkindly lent to me by Richard Morris of the Schubert Institute (UK), who \nnoted \"I intend to mention the release in our journal, since the \nrecording has effectively been unavailable for 50 years, so I doubt that\n any members have heard it.\" Well they're in for a treat - the Schubert \nis exceptionally well recorded for its vintage, with the slight \nexception of the very last side, which was prone to overload distortion.\n The cycle was recorded over four sessions between October 1928 and \nJanuary 1929 and benefits from particularly clear vocal reproduction, \nfurther enhanced in this XR remastering. Rather confusing was the \npitching of the cycle: the two sides cut in 1929 were pitched at A444, \nwhilst those recorded the previous year came in at around A452. I \nelected to use the lower of the two pitches for the complete cycle, and \nwas also able to smooth out some variable pitch most noticable during \nthe piano solo sections. Although there is some overall variability in \ntone from the various recordings (and disc sizes) the complete cycle is a\n superb example of just how quickly and well the recording companies had\n adjusted to life with microphones by 1928.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Thom Denijs \nSchumann cycle was recorded on a single day in January 1928 and at first\n appears to come from a different era, largely thanks to the rather \nclangy piano tone. But quickly one is drawn in to the different acoustic\n (and forgets the slightly higher surface noise) and the voice. In a \n1937 review of Gerhard Husch's Dichterliebe, The Gramophone's critic \nnoted the previous existence of this set, stating: \"My personal choice \nis for Denijs because I find his light baritone voice the more \nattractive. Technically the new records are the better; the piano tone \nin the earlier set is rather thin.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eDUHAN, DENIJS\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Dichterliebe, \u003cb\u003eSchubert\u003c\/b\u003e: Schwanengesang (1928\/29)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSchwanengesang, D.957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Liebesbotschaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Kriegers Ahnung\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Frühlingssehnsucht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Ständchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Aufenthalt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. In der Ferne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Abschied\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Der Atlas\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Ihr Bild\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. Das Fischermädchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. Die Stadt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Am Meer\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e13. Der Doppelgänger\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e14. Taubenpost\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 October 1928 (1, 3, 5, 7-10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e23 October 1928 (6, 11, 12\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e3 November 1928 (4, 14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e24 January 1929 (2, 13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Czech HMV ER 292-95 \u0026amp; ES 460, 471 \u0026amp; 507\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: BW1934-II; CW2155-I; BW1935-II; CW1965-II\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBW1936-II; CW1949-II; BW1937-I;38-I;39-II; BW1947-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBW1948-II; CW1950-II; CW2156-I; CW1964-II\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e(BW=10-inch 78s; CW=12-inch 78s)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHans Duhan\u003c\/b\u003e baritone\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFerdinand Foll\u003c\/b\u003e piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eDichterliebe, Op. 49\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Im wunderschönen Monat Mai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Aus meinen Tränen sprießen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Die Rose, die Lilie, die Taube, die Sonne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Wenn ich in deine Augen seh\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Ich will meine Seele tauchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Im Rhein, im heiligen Strome\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Ich grolle nicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Und wüßten's die Blumen, die kleinen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Das ist ein Flöten und Geigen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. Hör' ich das Liedchen klingen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. Ein Jüngling liebt ein Mädchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Am leuchtenden Sommermorgen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e13. Ich hab' im Traum geweinet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e14. Allnächtlich im Traume\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e15. Aus alten Märchen winkt es\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e16. Die alten, bösen Lieder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eShared recording information:\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 January 1928\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eHMV Studio B, Hayes, Middlesex\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV D.2062-64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: Cc.12377-II; 12378-II; 13952-II\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13953-II; 12381-I; 12388-II\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eThom Denijs\u003c\/b\u003e baritone\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEnni Denijs-Kruyt\u003c\/b\u003e piano\u003c\/span\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\/PACO109.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO109.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":31975513101,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975513165,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975513229,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975513293,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO109_22d6695b-4d5a-4921-b205-96f83737d0e3.jpg?v=1487682051"},{"product_id":"pacm088","title":"EDWIN FISCHER TRIO plays Beethoven, Brahms and Schumann (1953) - PACM088","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Trio No. 5 in D, \"Ghost\", Op. 70, No. 1\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Trio No. 1 in B, Op. 8\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Piano Trio No. 1 in D minor, Op. 63\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 8 August 1953 at the Mozarteum, Salzburg\u003cbr\u003eTotal duration (download): 89:31; CD: 58:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin Fischer\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eWolfgang Schneiderhan\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eEnrico Mainardi\u003c\/b\u003e, cello\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM088.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn Paul Badura-Skoda's notes to the Fonit \nCetra LP issue of this concert, from which the present transfer was \ndrawn, he observes: \"Unfortunately it must be observed that the tone \nbalance does not always match the sound I personally heard in the \nconcert hall. Unhappily the microphone had been placed just in front of \nthe violin and also close to the cello, so that the sound of the piano \nseems to come from a distant background. Probably the sound technician \nhad noted that generally the pianist in a chamber group plays too \nloudly. But in Fischer’s case the very opposite was true. The spiritual \nforce can nevertheless still be felt, even though the listener’s \nimagination must supply what cannot be heard.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough it is not\n within the bounds of technology today to alter the microphone placement\n of a recording made 60 years ago, it's instructive to note the \ndifference that XR remastering has made to the overall impression of \nbalance here. The original recording was clear but lacking in body, both\n from the cello and, in particular the full-bodied sound of the piano \nwhich helps so much to round out the overall sonic texture of the \nensemble. Restoring these hidden frequencies makes a huge difference to \nthe impression one receives from the performances themselves, which take\n on far more life and immediacy. Note that the Schumann Piano Trio No. \n1, also performed at the same concert, was too long to fit onto CD - it \ncan be downloaded at no cost from our website.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eEDWIN FISCHER TRIO\u003c\/b\u003e plays \u003cb\u003eBeethoven\u003c\/b\u003e, \u003cb\u003eBrahms\u003c\/b\u003e and \u003cb\u003eSchumann\u003c\/b\u003e (1953)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Trio No. 5 in D, \"Ghost\", Op. 70, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro vivace e con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Largo assai et espressione\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Trio No. 1 in B, Op. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Scherzo Allegro molto — Trio Meno allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Finale Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Piano Trio No. 1 in D minor, Op. 63\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Mit Energie und Leidenschaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Lebhaft, doch nicht zu rasch\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Langsam, mit inniger Empfindung — Bewegter — Tempo I — attacca\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Mit Feuer — Nach und nach schneller\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eShared recording information:\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 August 1953 at the Mozarteum, Salzburg\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eA Bavarian Radio recording\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eProducer and XR remastering engineer: Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Edwin Fischer Trio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eCD duration (Beethoven and Brahms): 58:58\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration of all three trios: 89:31\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin Fischer\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWolfgang Schneiderhan\u003c\/b\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEnrico Mainardi\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eBecause the total duration of the three trios exceeds that of a standard audio CD the Schumann trio has been excluded from the CD issue. It is however included in all downloads.\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM088.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM088.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":31975524301,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975524429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975524493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975524621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM088_c23f9d7e-4a4f-4583-b8b1-e410374167f5.jpg?v=1487682062"},{"product_id":"paco079","title":"FLAGSTAD Song Recital 1 - Schumann: Frauenliebe und -leben; Grieg: Haugtassa (1950\/52) - PACO079","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Frauenliebe und -leben, Op. 42\u003cbr\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Haugtussa, Op. 67\u003cbr\u003e\u003cb\u003eBRAHMS, SCHUBERT, CHARLES\u003c\/b\u003e Short songs\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1950 and 1952\u003cbr\u003eTotal duration: 76:59\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eKirsten Flagstad\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eEdwin McArthur\u003c\/b\u003e piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fJust the kinds of vocal elegance and virtuosity in which Flagstad exhibits as much restraint as she does vocal prowess578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe art of Kirsten Flagstad (1895-1962) \nreceives excellent service by way of Pristine and master restoration \nengineer Mark Obert-Thorn, who revive inscriptions the great Norwegian \nsoprano made for RCA, 1950-1952. The original vinyl LPs from which many \nof the songs derive have passed into obscurity, since RCA seems to have \nlost interest in Flagstad’s post-war efforts... \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThe Schubert (17 March 1952) and Brahms (10\n April 1952) provide just the kinds of vocal elegance and virtuosity in \nwhich Flagstad exhibits as much restraint as she does vocal prowess. \nSchubert’s “Die junge Nonne” offers another of his ‘dark and stormy \nnights’ narratives that could bathe in ‘religious’ treacle, if \npermitted. Of the Brahms group, “Meine liebe ist gruen,” Op. 63, No. 5 \nbursts forth with a vehemence not easily matched, either by the composer\n or fellow vocalists. The “Sind es Schmerzen, sind des Freudes,” Op. 33,\n No. 3 offers wonderful accompaniment from McArthur, the song taken from\n the Tieck cycle of courtly love and loss, Die Schoene Magelone. The \ntissue of medieval ardor that Flagstad and McArthur weave suggest that \nthis opus stood as his personal version of Tristan.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eGary Lemco, Audiophile Audition\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO079.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFlagstad’s postwar American recordings for RCA Victor, \nmade between 1950 and 1952, form one of the least-known portions of her \ndiscography, not least because of their lack of availability for most of\n the past half century. Except for a 1965 LP reissue of Haugtussa and a \nsubsequent inclusion of one of its tracks on a 1993 CD devoted to \nhistoric recordings of Grieg songs, the recordings featured here have \nnot been available in any form since the 1950s.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe reason has less to do with the quality of the \nsinging – after all, it was only two months after the last session on \nthis program that Flagstad recorded her iconic Isolde under Furtwängler –\n but rather with RCA’s lack of interest in reissuing anything other than\n her Wagner recordings. (Her prewar RCA song recordings have similarly \nbeen ignored, although at least those have been reissued on CD by \nindependent labels.) Except for the Haugtussa cycle, which Flagstad \nrecorded on two other occasions (Victor, 1940; Decca, 1957), most of the\n items taped in these sessions were the soprano’s only recordings of the\n works, which makes their reissue doubly valuable.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis release is the first of two which will reintroduce \nthese recordings to modern audiences. The second volume will feature \nmore Schubert and Brahms, along with Richard Strauss and a group of \nsongs in English by contemporary composers. Comparative listeners will \nnote that this Haugtussa, recorded in the same Hollywood studio ten \nyears after her initial version, runs about a minute and a half longer \nthan the 1940 recording, while her familiar Charles encore is paced much\n more swiftly than its 1936 predecessor.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhile the \u003cem\u003eHaugtussa\u003c\/em\u003e was transferred from the \n“white dog” label reissue with the benefit of somewhat quieter surfaces,\n the two other recital discs apparently only came out on their \nfirst-release pressings – “plain dog” labels for LM-1738 and maroon \n“shaded dog” for LM-1870 – which tend to be less quiet than later LP \npressings, and some surface swish remains on a few tracks.  Although I \nwas able to assemble six copies of LM-1738, the actual transfer of \u003cem\u003eFrauenliebe\u003c\/em\u003e came from a single original HMV edition of the disc (ALP-1191).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFLAGSTAD\u003c\/b\u003e Song Recital 1 - \u003cb\u003eSchumann\u003c\/b\u003e: Frauenliebe und -leben; \u003cb\u003eGrieg\u003c\/b\u003e: Haugtassa (1950\/52)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDie junge Nonne, D.828 (Text: Craigher)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDie Liebe hat gelogen, D.751 (Text: Platen)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDie Post (Die Winterreise, D.911, No. 13) (Text: Müller)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Wegweiser (Die Winterreise, D.911, No. 20) (Text: Müller)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFrauenliebe und –leben, Op. 42\u003c\/b\u003e (Text: \u003ci\u003eChamisso\u003c\/i\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSeit ich ihn gesehen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEr, der Herrlichste von Allen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIch kann’s nicht fassen, nicht glauben\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDu Ring an meinem Finger\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHelft mir, ihr Schwestern\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSüsser Freund, du blickest\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAn meinem Herzen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNun hast du mir den ersten Schmerz getan\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLiebestreu, Op. 3, No. 1 (Text: Reinick)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMeine liebe ist grün, Op. 63, No. 5 (Text: F. Schumann)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSind es Schmerzen, sind es Freuden, Op. 33, No. 3 (Text: Tieck)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHaugtussa, Op. 67 \u003c\/b\u003e(Text: \u003ci\u003eGarborg\u003c\/i\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDet Syng [The Singing]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVeslemöy [Little Maiden]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBläber-Li [Bilberry Slopes]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMøte [Meeting]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eElsk [Love]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eKillingsdans [Kidlings’ Dance]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVond Dag [Evil Day]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVed Gjætle-Bekken [At the Brook]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eErnest CHARLES: When I have sung my songs (Text: Charles)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eTracks 1-12: Recorded 17 March 1952 in RCA Studio No. 2, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTracks 13-15: Recorded 10 April 1952 in RCA Studio No. 2, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTracks 16- 23: Recorded 26 April 1950 in the RCA Studios, Hollywood\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTrack 24: Recorded 18 March 1952 in RCA Studio No. 2, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTracks 1-4 and 13-15 first issued on RCA Victor LM-1870\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTracks 5-12 and 24 first issued on RCA Victor LM-1738\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTracks 16-23 first issued on RCA Victor LM-1094\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eKirsten Flagstad\u003c\/b\u003e soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin McArthur\u003c\/b\u003e piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eSpecial thanks to Maynard F. Bertolet and Howard Sanner for providing source material\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 76:59\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Kirsten Flagstad\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO079.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO079.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNew tab578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":33845492813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33845492877,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33845492941,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO079_ed79f183-e7bb-4d04-8fad-cea3af2b7d7e.jpg?v=1489157015"},{"product_id":"paco025","title":"HÜSCH Schumann: Dichterliebe (1936) - PACO025","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Dichterliebe, Op. 48\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 29th and 30th January, 1936, Abbey Road Studios, London\u003cbr\u003eTotal duration: 26:55\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGerhard Hüsch\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eHanns Udo Müller\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO025.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWorking from near-mint Australian pressings, generously \nprovided for this release by Mark Obert-Thorn, I was able to take \nadvantage of much quieter disc surfaces than normally found on UK HMV \ndiscs. The results of this XR remastering, especially when heard in \nAmbient Stereo, are simply amazing. Hüsch's voice and diction has surely\n never come across as clearly and richly as presented in this recording -\n and his performance is simply superb.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn 2005 Pristine Audio's remastered recordings of Hüsch and Udo Müller's Schubert \u003cem\u003eLieder\u003c\/em\u003e (\u003cem\u003eWinterreise\u003c\/em\u003e and \u003cem\u003eDie Schöne Müllerin\u003c\/em\u003e) were both critic's CDs of the Year at MusicWeb International - this third selection of \u003cem\u003eLieder\u003c\/em\u003e\n can not only stand alongside our earlier releases in terms of \nperformance, but thanks to advances in remastering technologies and \ntechniques in just three short years, can surely ourshine both in terms \not sound quality.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOne of our finest releases of 2008!\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eHÜSCH\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Dichterliebe (1936)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Dichterliebe, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIm wundersch÷nen Monat Mai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAus meinen TrΣnen sprie▀en\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDie Rose, die Lilie, die Taube, die Sonne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWenn ich in deine Augen seh\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIch will meine Seele tauchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIm Rhein, im heiligen Strome\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIch grolle nicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eUnd wⁿ▀ten's die Blumen, die kleinen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDas ist ein Fl÷ten und Geigen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eH÷r' ich das Liedchen klingen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEin Jⁿngling liebt ein MΣdchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAm leuchtenden Sommermorgen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIch hab' im Traum geweinet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAllnΣchtlich im Traume\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAus alten MΣrchen winkt es\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDie alten, b÷sen Lieder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29th and 30th January, 1936, Abbey Road Studios, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV DB. 2940-2942, Matrix Nos. 2EA 3064 - 3069\u003cbr\u003eAll first takes except side 1, take 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eHⁿsch, Udo Mⁿller\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransferred from Australian HMV pressings from the collection of Mark Obert-Thorn Transfer and XR remastering by Andrew Rose at Pristine Audio, August 2008\u003cbr\u003eCover artwork based on a photograph of Gerhard Hüsch\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 26:55\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGerhard Hüsch\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eHanns Udo Müller\u003c\/b\u003e, piano\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\/PACO025.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO025.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":33987939597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33987939661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33987939853,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":33987939917,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO025_f765f7dd-165b-41b5-990d-45d11f3a570a.jpg?v=1489412258"},{"product_id":"pakm009","title":"JOHANNESEN Schumann: Piano Sonata No. 2, Six Intermezzi (1953) - PAKM009","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Sonata No. 2 in G minor, Op.22\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSix Intermezzi Op. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eOriginally released in 1953, issued as Nixa LP CLP 1173\u003cbr\u003eDuration 36:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGrant Johannesen\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM009.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eSchumann\n \u003c\/b\u003ewrote three sonatas for the piano, all during the mid-1830's when he \nwas at the height of his powers, and of these it is the second which \nstands out as his masterpiece of the genre. Written for and inspired by \nthe love of his life, the young Clara Wieck, Schumann spent four years \nrevising and reworking the piece until he was ready to publish it. \nDuring this time this music developed and deepened in parallel to his \naffections for Clara, and as such is now seen as one of music's great \nlabourd of love.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe\n six Intermezzi were written slightly earlier in 1832, being published \nin 1833. Though just 22 years of age at the time of composition, these \nare no slight works - they display an expressive richness and an \nemotional intensity which not only herald the greatness to come but \nstand in their own right as works of true merit.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eGrant Johannesen\u003c\/b\u003e\n (1921-2005), born in Salt Lake City, USA, was one of the great American\n pianists of the 20th century. He studied under Robert Casadesus, Roger \nSessions, and Nadia Boulanger. He made his Manhattan recital debut when \nhe was 23, won the Concours International when he was 28, and was \nconsidered the first important American pianist to emerge after World \nWar II.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHe\n was particularly associated with French piano music, being the first to\n record the entire piano compositions of Fauré. He undertook many tours,\n both solo and perhaps most notably with the New York Philharmonic. A \nrapturous reception in Moscow once earned him 16 encores.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJohannesen died in Berlin on 27th March, 2005, at the age of 83.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eJOHANNESEN\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Piano Sonata No. 2, Six Intermezzi (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Sonata No. 2 in G minor, Op.22\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Prestissimo (So rasch wie möglich)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andantino\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (Allegro Molto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Rondo (Presto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSix Intermezzi Op. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Allegro quasi maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Presto a capriccio ('Meine Ruh' ist hin')\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Allegro Marcato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Allegretto semplice\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eProgramme recording information:\u003c\/b\u003e\u003cbr\u003eOriginally released in 1953, issued as Nixa LP CLP 1173\u003cbr\u003eDuration 36:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGrant Johannesen\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM009.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM009.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":34054091085,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":34054091149,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM009_34679e7a-6616-4d0b-b6f4-4c36925b06b8.jpg?v=1489502002"},{"product_id":"pakm016","title":"K. LONG Schumann: A Piano Recital (1948-50) - PAKM016","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSonata, Two Novelletes, Romance\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded: 1948-50\u003cbr\u003eDuration 37:18\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eKathleen Long\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI had decided to sample several minutes of the Schumann 2nd sonata since\n I'm not fond of the work and I ended up listening to the whole thing \nand enjoying it immensely. That might serve as my whole review.\u003cbr\u003e\u003cbr\u003eSchumann\n in his piano music was uncomfortable with sonata form. His true metier \nwas collections of subtly related piano pieces such as Carnaval and \nDavidsbundlertanze. His three sonatas are only fitfully inspired and \nfilled with rhetorical homages to form. The second sonata begins with \nthe tempo indication \"prestissimo possibile\" (\"as fast as possible\") and\n 50 or 60 bars later asks the pianist to play faster. It's hard to play \nvery fast and very lyrically for five or six minutes. Kathleen Long does\n it with consummate ease. The second movement is so fresh, so quiet, so \nnew. The somewhat contrived scherzo and the finale are very convincing.\u003cbr\u003e\u003cbr\u003eThe\n Novelettes feature a lot of Schumannesque vehemence, not all of which \nseems justified. Ms. Long brings out the lyical content in the first \none. Her playing of the second one (#8, F# minor) convinces me that it \nis a great work, very powerful, very masculine. In Kathleen Long's \nhands, it is the final word on Florestan, ardent, fiery, and \nSchumannesque to the nth degree.\u003cbr\u003e\u003cbr\u003eHaving been blessed with her Faure and now with her Schumann, let us hope that a little more Kathleen Long remains.\u003cbr\u003e\u003cbr\u003eAndrew\n Rose's introduction for this CD tells us how difficult this restoration\n was and the fact that both he and Peter Harrison had to work jointly to\n produce it. The finished product shows no sign of their labor and \nstrain except perhaps in its clarity and beauty. \u003cbr\u003e\u003cbr\u003eReviewer: Bill Rosen\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM016.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nWe continue our collection of piano recordings by Kathleen Long with \nthis 1951 Decca release, which would appear to be a compilation of late \n1940's recordings made for 78rpm issue.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe earliest days of the \nLP resulted in a number of recordings being issued on the new format \nfollowing brand new, taped (rather than cut to 78rpm disc) recording \nsessions. It also resulted in some rather rushed - and in this case, \nshort-lived - releases, and recording companies were exceptionally \nreluctant to reveal whether the recordings were new or re-releases of \nolder material. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with our earlier Fauré compilation, released\n in April 2006 as PAKM015, this makes for some difficulties in finding \nthe precise piano tone required - to put it bluntly, from a technical, \nsound-quality perspective the original Schumann recordings were pretty \ndire.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis particular restoration ended up being a rare example \nof Peter Harrison and myself working on the same material. I had spent a\n long time working on the record and had found a tonal quality I was \nhappy with - but the endless swish of the vinyl and other noise problems\n were driving me mad! I asked Peter if he'd like to take a stab at it to\n see whether he might have more success coming at it with a fresh \napproach. Following his amazing clean-up, working at the very limits of \nwhat is currently technically possible, I supplied various EQ and other \nsettings which aimed to replace what The Record Guide rather sniffily \nreferred to as the piano's \"shallow and metallic\" sound with something \nrather more believeable - and listenable!\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePerhaps this is where \nwe - Peter and I - are prepared sometimes to cross a line with regard to\n intervention in the recorded sound. Something here was clearly wrong, \nto the extent that the reviewers of the day didn't like it, and almost \nnobody had purchased it. And yet with the almost forensic precision of \nmodern audio analysis and remastering technology, I believe that between\n us we have succeeded in revealing a wonderful recording that neither of\n us suspected would be there. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter an exceptionally long \ngestation, a musical flower has finally come into bloom - just have a \nlisten to the sample Romance and I think you'll agree...\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eK. LONG\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: A Piano Recital (1948-50)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSonata No. 2 in G minor, Op. 22 - rec. 9\/1\/48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Vivacissimo (So rasch wie möglich)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andantino (Getragen)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (Sehr rasch und markiert)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Rondo (Presto)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNovelette in D major\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e[Op. 21, No. 2]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRomance in F sharp major\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e[Op. 28, No. 2]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNovelette in F sharp minor\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e[Op. 21, No. 8]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNovelette in D major\u003c\/b\u003e Op. 21, No. 2 - rec. 1950?[b*]\u003cbr\u003e\u003cb\u003eRomance in F sharp major\u003c\/b\u003e Op. 28, No. 2 - rec. 1950?[a*]\u003cbr\u003e\u003cb\u003eNovelette in F sharp minor\u003c\/b\u003e Op. 21, No. 8 - rec. 1950?[b*]\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e*These pieces were made to provide LP couplings for recordings dating from 1943-48 and were not allocated 78rpm matrix numbers. In consequence it has not been possible to date them precisely, though they were probably recorded in a single session, with the tapes perhaps being edited on [a] 9 Mar 50, [d] 9 Jun 50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eFirst LP issue in 1951 as Decca LP LK4023\u003cbr\u003ePiano Sonata No. 2 also issued on 78rpm AK2300-2\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 37:18\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eKathleen Long\u003c\/b\u003e, piano\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\/PAKM016.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM016.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":34050856845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":34050856909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM016.jpg?v=1489497250"},{"product_id":"pasc467","title":"KLEMPERER in Philadelphia, Vol. 2: Mozart, Beethoven, Schumann (1962) - PASC467","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 41 'Jupiter'\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 'Pastoral'\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive stereo recordings, 1962\u003cbr\u003eTotal duration: 2hr 34:51\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEssential for admirers of this extraordinary musician and should appeal to anyone with an interest in the art of orchestral interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cb\u003eReview of Volumes 1 \u0026amp; 2:\u003c\/b\u003e\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\nIn late 1934, Leopold Stokowski announced his resignation as the \nlong-time principal conductor of the Philadelphia Orchestra. Otto \nKlemperer, a refugee from Nazi Germany, was engaged to conduct a season \nof concerts with the orchestra in January and February of the following \nyear. The Bruckner and Mahler performances which he included in his \nPhiladelphia concerts were moderately successful, but received greater \naudience and critical acclaim when he and the orchestra performed them \nin New York. Based on this success, Klemperer hoped he would be \nappointed Stokowski's successor. However, the latter conductor \nreconciled with the orchestra's board and the vacancy lapsed. When \nStokowski resigned a second time in late 1935, the board appointed \nEugene Ormandy to the position and Klemperer's hopes were permanently \ndashed.\u003cbr\u003e \u003cbr\u003e In late autumn 1962, the conductor was reunited with \nthe orchestra when he gave a series of concerts with them in \nPhiladelphia, New York, Washington and Baltimore. The Philadelphia \nconcerts were recorded in stereo and have now been restored by Pristine \nClassics and reissued in these two double-albums. The audiences were, at\n the very least, respectful and sometimes responded with an ovation. The\n critics, however, were reserved, complaining of slow tempos and a \ntendency to scrutinise every phrase. Winthrop Sargeant in the \u003cem\u003eNew Yorker\u003c\/em\u003e\n put the critics' concerns into perspective. Audiences, he believed, \nwere unaccustomed to Klemperer's style because of Toscanini's long \ndominance of the American orchestral scene. Klemperer's performances had\n 'unmistakeable grandeur' and were 'remarkable for their clarity of \ndetail'.\u003cbr\u003e \u003cbr\u003e (Sourced and adapted from Peter Heyworth’s \u003cem\u003eOtto Klemperer – His Life and Times\u003c\/em\u003e, CUP, 1996.)\u003cbr\u003e \u003cbr\u003e\n Although more than half a century old, these performances are not \nperiod pieces. Klemperer was a modernist who championed the music of the\n twentieth century. Unlike many of his near-contemporaries, he did not \nuse expressive devices like fluctuating tempos and significant \ninstrumental ‘re-touchings’. He preferred steady tempos. The orchestral \nsound was big but detailed. Mannerisms were few. Liberties were very \noccasionally taken, mainly in the form of cuts. Surface beauty and \nsuperficial excitement alike were shunned. He was an intellectual - his \ncommand of structure was unsurpassed - but he was not interested in \n‘scholarship’. His performances had honesty, integrity and power.\u003cbr\u003e \u003cbr\u003e\n Pristine's sound is warm, rich and deep and, in general, well balanced.\n Pristine states that it used the acoustic of a fine venue to add warmth\n to the somewhat dry sound on the tapes. The result reproduces the \nfamous sheen of the orchestra very well, although I would not call it a \ntypical Klemperer sound. That was drier, grittier and more detailed — \nsee my comments below on the recording of Beethoven's Seventh Symphony. \nStill, these magisterial performances can be enjoyed in this sumptuous \nsound.\u003cbr\u003e \u003cbr\u003e There is little in these sets which will startle those \nwho know their Klemperer. The performances are basically iterations of \nthe conductor's well known way with this music — all of which he had \nrecorded for EMI a few years earlier.\u003cbr\u003e \u003cbr\u003e In the case of the \u003cb\u003eBrandenburg Concerto No. 1\u003c\/b\u003e\n I was initially nonplussed by the disparities in the movement timings \nbetween this performance and the conductor's EMI studio version of two \nyears earlier. EMI's track 2 (containing the second movement \u003cem\u003eAdagio\u003c\/em\u003e) runs for 4:35 whereas Pristine's track 2 (also supposedly the \u003cem\u003eAdagio\u003c\/em\u003e) lasts\n 15:21. Yet the timings of the two performances of the whole \nconcerto are within a minute or so of each other. What has happened is \nthis: Pristine's track 2 contains not only the \u003cem\u003eAdagio\u003c\/em\u003e, but the third movement \u003cem\u003eAllegro\u003c\/em\u003e and \u003cem\u003epart\u003c\/em\u003e of the fourth movement \u003cem\u003eMenuetto\u003c\/em\u003e. The next bit of the \u003cem\u003eMenuetto\u003c\/em\u003e is found in track 3, and wrongly labelled \u003cem\u003eAllegro\u003c\/em\u003e, leaving only the last three minutes of the \u003cem\u003eMenuetto\u003c\/em\u003e to sit where it belongs - in track 4. Presumably, Pristine will correct these matters when the chance arises.\u003cbr\u003e \u003cbr\u003e Bach's scoring for this work includes a \u003cem\u003eviolino piccolo \u003c\/em\u003e(a\n small violin) and a harpsichord. I doubt whether Klemperer used the \nformer in either of these recordings. He certainly used a harpsichordist\n (George Malcolm) in London, but I'm not at all certain he had one in \nPhiladelphia. The balance in Philadelphia strongly favours the horns and\n the largish string section; the woodwinds tend to struggle. So perhaps \nthe harpsichord \u003cem\u003ewas\u003c\/em\u003e there. The horns, incidentally, are \nwonderfully vital and poised. The EMI recording seems to use a smaller \nstring section and has a clearer, studio-based sound, so it feels a \nlittle more 'authentic'. The Philadelphia performance is warm with tempi\n expansive but steady and never metronomic. This is the one truly \ncontroversial performance in the two sets. 'Authenticists' will reject \nit but, even today, there are those who can revel in this more \n'romantic' Bach than the one we have become used to.\u003cbr\u003e \u003cbr\u003e \u003cb\u003eBrahms\u003c\/b\u003e,\n it has been said, is ‘the patron saint of those who have grown old \nwithout achieving heart's desire’ and that is plain in this \u003cb\u003eSymphony No. 3\u003c\/b\u003e.\n One or two of Klemperer's eminent colleagues couldn't come to terms \nwith this symphony, but he did, and so did Bruno Walter, perhaps because\n of their life experiences. I compared this performance with readings by\n Klemperer on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Mar04\/Brahms_Klemperer.htm\"\u003eEMI stereo\u003c\/a\u003e\n and Walter on Sony stereo. All three capture the ‘Autumnal’ yet \nchanging moods of the symphony. Walter omits the first movement repeat \nwithout doing too much damage to the structure — he was averse to \nrepeats — and Klemperer includes it in both performances. Walter’s more \nmoulded approach uses basic tempos in the first three movements which \nare similar to Klemperer’s steadier ones on EMI, except in the Finale \nwhere Walter is brisker. Klemperer is a shade more expansive in \nPhiladelphia than London … by about a minute and a half. Walter’s is one\n of the finest of his stereo recordings in terms of both performance and\n sound. Both the Klemperer recordings are likewise authoritative.\u003cbr\u003e \u003cbr\u003e No conductor ever surpassed Klemperer's performances of the \u003cb\u003e\u003cem\u003eEgmont Overture\u003c\/em\u003e\u003c\/b\u003e. His approach was to use a steady tempo and build slowly to a great climax at the end. Walter, who recorded \u003cem\u003eLeonore No. 3\u003c\/em\u003e masterfully in Vienna, sadly misjudged \u003cem\u003eEgmont\u003c\/em\u003e\n in his Sony recording, slowing down mid-way, then having to speed up \nunconvincingly later on. A special mention for Klemperer's piccolo \nplayer in Philadelphia who rightly dominates the orchestra at the end.\u003cbr\u003e \u003cbr\u003e Some years ago on television, a conductor was seen rehearsing the \u003cb\u003eBeethoven\u003c\/b\u003e \u003cb\u003e\u003cem\u003eEroica\u003c\/em\u003e\u003c\/b\u003e\n with his period instrument orchestra. He advised the players that the \nfirst movement was \"like galloping horses\". Those viewers who recalled \nthat the French revolution inspired this symphony might have found that \nhis description - and performance – did not evoke the heroic spirit of \nthat event. They might prefer an alternative description - \"massive \nforces in motion\" – which is what Klemperer’s performances gave us. I’ve\n heard four of them: the Philharmonia Orchestra EMI studio productions \nof 1955 (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2009\/Feb09\/Beethoven3_8111303.htm\"\u003emono\u003c\/a\u003e)\n and 1959 (stereo), the Royal Danish Orchestra live recording of 1957 on\n Testament (mono) and this one with the Philadelphia Orchestra.\u003cbr\u003e \u003cbr\u003e\n The Danish performance is the first choice of some listeners. It has \ngreat intensity, emphasised by the close and dryish recording, but lacks\n Klemperer’s characteristic spaciousness. The \u003cem\u003eFuneral March\u003c\/em\u003e is \nquicker than in four other famous performances I compared it with and to\n an extent misses its full stature. I’d guess the whole performance was a\n product of a manic phase of the conductor’s well-known bi-polar \ncondition. The nearest to it in timing is the admired 1955 performance \nwhich has better sound and is better played. The superb horns are led by\n Dennis Brain in the third movement trio and the coda of the last \nmovement. Its \u003cem\u003eFuneral March\u003c\/em\u003e is finer, but does not have the \nstature of the 1959 remake or this Philadelphia performance. Both of \nthese offer a notably deeper and grander \u003cem\u003eFuneral March\u003c\/em\u003e.\u003cbr\u003e \u003cbr\u003e\n The Philadelphia performance resembles the 1959 recording and has \nalmost identical timings in all movements. The first movement is on the \nlargest scale and the important thing is that it \u003cem\u003ecoheres,\u003c\/em\u003e the \nfinal note envisaged, as it were, from the first. Everything leads to a \ngreat climax at the end of the movement where the trumpets, while \npresent, do not dominate to the exclusion of other instruments. The slow\n movement \u003cem\u003eFuneral March\u003c\/em\u003e is immensely moving, although every \nperformance of this piece has to yield to Toscanini's live 1939 version \nwith the NBC Symphony Orchestra — which has almost the same timing – \n16:25. This has unsurpassed tragic grandeur, accompanied by remarkable \ninternal clarity which could only have been achieved by absolute \nprecision; helped by the typically dry acoustic. The Philadelphia third \nmovement is a touch stately, but of a piece with the overall conception.\n In the Finale, Klemperer scores — as Walter does on Sony — by getting \nthe movement off to an arresting start without using Toscanini's \nwhiplash attack. As this movement progresses, do I detect a little more \nrelaxation in the quieter passages than Klemperer permits in his studio \nrecordings? A gesture, perhaps, to a great romantic orchestra? A touch \nof flexibility from the podium helps the horns articulate their \nimportant part in an exciting coda whereas Toscanini’s horns sound a \nlittle rushed.\u003cbr\u003e \u003cbr\u003e I compared this \u003cb\u003eMozart Symphony No. 41,\u003c\/b\u003e \u003cb\u003e\u003cem\u003eJupiter\u003c\/em\u003e\u003c\/b\u003e recording with Klemperer's two studio recordings (EMI, \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Feb\/Mozart_Symphonies_1PD98.htm\"\u003e1954\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2009\/Feb09\/Mozart_Symphonies_Klemperer_3458102.htm\"\u003e1962\u003c\/a\u003e), Böhm (DG \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/\/2000\/Oct00\/mozartpanorama.htm\"\u003e1962\u003c\/a\u003e) and Walter (US Columbia 1945, available in \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Mar\/Walter_rarities_PASC452.htm\"\u003ePristine's 'Bruno Walter Rarities'\u003c\/a\u003e 2015).\u003cbr\u003e \u003cbr\u003e\n Klemperer's Philadelphia performance gives the work the stature of a \nromantic symphony, an approach which I think it can withstand. At first \nglance, its physical proportions seem daunting: it runs for 36:39 \nwhereas all the other performances mentioned — including the \nconductor's studio recordings — run for less than half an hour. The \ndifference is mostly explained by the fact that the Philadelphia \nperformance is the only one that includes the repeats in \u003cem\u003eboth\u003c\/em\u003e \nthe outer movements. This adds about six minutes overall. The \nconductor's dramatic 1954 studio performance finds room for a repeat in \nthe last movement, but not in the first. His 1962 studio version, and \nBöhm's and Walter's, omit the repeats in both movements.\u003cbr\u003e \u003cbr\u003e It is \nin the first two movements that the Philadelphia reading differs \nsignificantly from most of the others. In Philadelphia, these \nmovements are broadly paced but lack nothing in intensity. Böhm is \nclosest to the classical ideal, dispatching both these movements swiftly\n in his straightforward, unmannered style. Walter is not far behind him,\n although his performance is more moulded, as you would expect. \nKlemperer in 1954 is close to Walter in overall timing, but steady in \npulse and more intense, giving a heroic feel to his performance. \nKlemperer in his 1962 studio performance slows down by about a minute \nin both the movements, giving a feeling of - as the 'Gramophone' put it \nat the time - 'classical grace'.\u003cbr\u003e \u003cbr\u003e If the Philadelphia audience \nin 1962 thought that Klemperer would drag his feet in the last two \nmovements, they were about to be surprised. His third movement is well \nup to speed and actually faster than Böhm's. His speed for the Finale is\n broadly comparable with the other performances, allowing for his \ninclusion of the repeat, and, with the advantage of his unsurpassed \nintensity, the effect is something of a whirlwind. A satisfying \nconclusion.\u003cbr\u003e \u003cu\u003e \u003c\/u\u003e\u003cbr\u003e Klemperer made \u003cem\u003efour\u003c\/em\u003e EMI studio recordings of \u003cb\u003eBeethoven's Seventh Symphony\u003c\/b\u003e, if you count his \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Nov02\/Beethoven57_Klemperer.htm\"\u003e1955 mono\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Sept13\/Beethoven_sys789_PASC371.htm\"\u003estereo\u003c\/a\u003e\n recordings as separate productions - which they were. I've chosen the \nthird of these - his 1960 stereo recording - as a basis for comparison. \nFor my other comparison, I wanted a complete contrast with Klemperer’s \napproach - in good sound. To be slightly venturesome, I selected Carlos \nKleiber’s live recording with the Bavarian State Orchestra on Orfeo, \nreleased in 1982, rather than his more famous \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2014\/Jan14\/Beethoven_Kleiber_4791106.htm\"\u003eDG studio recording\u003c\/a\u003e from the 1970s.\u003cbr\u003e \u003cbr\u003e\n Kleiber's performance is conceived in the classical, Toscanini style, \nwith swift tempos and incisive rhythms but, with fewer repeats and even \nfaster speeds than his DG recording, it understates a significant aspect\n of the score: its rustic, lyrical qualities. Bruno Walter's stereo \nperformance on Sony captured this aspect to perfection in the first \nthree movements, but his Finale was less satisfying in several ways. \nKleiber gives unusual prominence to the cello theme heard early in the \u003cem\u003eAllegretto\u003c\/em\u003e, a device which is not entirely convincing. He omits all repeats, except in the \u003cem\u003eScherzo\u003c\/em\u003e, and his speeds in all movements are faster than Toscanini’s in his pre-war BBC Symphony Orchestra performance (EMI also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Apr13\/Toscanini_London_1935_WHRA6046.htm\"\u003eWest Hill Radio Archives\u003c\/a\u003e).\n In the Finale, Kleiber is half a minute faster than Toscanini. This is a\n significant acceleration in a seven-minute movement and frankly places \nphysical excitement before any other qualities. The Bavarian orchestra \nsounds the equal of any in Europe and the sound is outstanding.\u003cbr\u003e \u003cbr\u003e In his DG performance only, Kleiber included the repeats in both the outer movements, whereas Klemperer omitted them in \u003cem\u003eboth\u003c\/em\u003e\n his, perhaps in recognition of the expansiveness afforded by his much \nslower tempos. Predictably, he obtains a much weightier and darker tone \nthan Kleiber did.\u003cbr\u003e \u003cbr\u003e The timings of Klemperer’s two recordings can\n be directly compared — due to their identical treatment of repeats — \nand it is interesting to note that in Philadelphia he was a minute \u003cem\u003efaster\u003c\/em\u003e\n than in London. Neither performance is 'the apotheosis of the dance' \nbut the EMI performance has been called 'titanic' and that \ndescription applies even more to the one in Philadelphia. With this \nconductor, the excitement comes not from speed but from the intensity of\n the playing he obtains. Be prepared for a famous Klemperer \n'ear-tickler' in the first movement's \u003cem\u003eAllegro\u003c\/em\u003e: his exaggeration\n of the great double hammer-blows. Some may find this a mannerism; \nothers may guiltily look forward to it each time they hear him in this \nwork.\u003cbr\u003e \u003cbr\u003e There is a marked difference in the sound produced by \nKlemperer’s two orchestras. In London, he obtained his usual \nrather grainy Beethoven sound from the Philharmonia players. In \nPhiladelphia, the orchestra - as presented by Pristine - retained \nits trademark tonal sheen.\u003cbr\u003e \u003cbr\u003e To judge by the number of memorable recordings which have appeared over the last ninety years, \u003cb\u003eBeethoven's Symphony No. 6,\u003c\/b\u003e \u003cb\u003e\u003cem\u003ePastoral\u003c\/em\u003e\u003c\/b\u003e\n may be the favourite symphony of the great conductors; I can think of \nonly one significant conductor who recorded it unsatisfyingly. It was \nalso the symphony by which many of us first experienced Beethoven's \norchestral music and so has a special place in our hearts.\u003cbr\u003e \u003cbr\u003e My own favourite versions could hardly be more different: Toscanini's pre-war recording on HMV (reissued in 2013 on EMI; also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Apr04\/beethoven6_toscanini.htm\"\u003eNaxos\u003c\/a\u003e), Walter's \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Dec\/Beethoven_Walter_88875123912.htm\"\u003eSony\u003c\/a\u003e stereo and Klemperer's \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2003\/May03\/Beethoven6_klemperer.htm\"\u003eEMI stereo\u003c\/a\u003e.\n There is a well known story that when Klemperer was rehearsing the \nthird movement 'Peasants' Merrymaking', EMI producer Walter Legge phoned\n him from the control room to question his slow tempo. ‘You will get \nused to it’ was the laconic reply. In Philadelphia, the conductor added \nan extra half-minute to this movement, so these peasants are \nindeed heavy-footed - as some of us might expect peasants to be.\u003cbr\u003e \u003cbr\u003e The first two movements are also slow, although the timing of 14 minutes for the \u003cem\u003eAllegro\u003c\/em\u003e\n is partly accounted for by Klemperer's inclusion of the repeat, \nwhich adds at least three minutes to this movement. The other two \nconductors omit it. Klemperer's speeds allow him to exploit to the full \nthe orchestra's seemingly limitless tonal reserves, grounded in an \nimmensely powerful bass. Reject his tempos if you must, but you will \nnever hear this work more beautifully or more powerfully played. The \nstorm is utterly overwhelming and takes only a few seconds longer than \nToscanini's and Walter's. The last movement \n'Thanksgiving' is unexceptionally paced and flows steadily and gently to\n its end.\u003cbr\u003e \u003cbr\u003e Gentleness is a characteristic of Walter's \nentire recording - but it is gentleness with backbone. It's a warmly \nexpansive, Viennese romantic interpretation with the lighter tone \nquality and more flexible tempos that such an approach would imply. \nAfter Walter and Klemperer, Toscanini’s account sounds almost like an \n'historically informed' performance without the bugbear — as some would \nsee it — of period instruments. Tone quality is lighter and focused on \nthe treble end of the orchestra. Speeds are swifter. There is great \ninternal clarity, bringing prominent woodwind detail. The most important\n thing is that the BBC Symphony Orchestra and Toscanini prove to be \nideal foils to one another: the conductor imparts precision and rhythmic\n drive and the orchestra tempers these with its special warmth and \nflexibility. The result is a performance with a rare combination of \nvitality and lyricism.\u003cbr\u003e \u003cbr\u003e My choice between the two Klemperer \nversions rests with the EMI studio account because of its marginally \nmore conventional pacing; it's three minutes faster. Still, if you have \nany sympathy at all for the conductor's way with this symphony, \nyou'll want to hear the incomparable sonic glories of the Philadelphia \nperformance.\u003cbr\u003e \u003cbr\u003e Pristine’s liner-notes quote from a recent review in the \u003cem\u003ePhiladelphia Inquirer\u003c\/em\u003e in which David Patrick Stearns calls this performance of \u003cb\u003eSchumann's Symphony No. 4\u003c\/b\u003e\n the 'best' among those the conductor gave in Philadelphia in 1962. \nGiven the stature of the performance, I'd call it not merely the best, \nbut the greatest.\u003cbr\u003e \u003cbr\u003e Perhaps we should forget about the supposed \nweaknesses of this work — actually Schumann's second in order of \ncomposition — and listen to what some great German conductors make of \nit. I've compared this performance with the same conductor's 1960 EMI \nstudio recording and those by Furtwängler (DG 1953 also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2006\/Feb06\/Tchaikovsky_Furtwangler_FURT10991100.htm\"\u003eTahra\u003c\/a\u003e) and Walter (HMV\/Dutton 1938\/94 also \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Jan11\/schumann_sys_GHCD2362.htm\"\u003eGuild\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Walter's performance, lasting just under 24 minutes, is far shorter \nthan the next contender, Klemperer's studio performance, which runs for \n28:25. Walter's timing reflects his omission of the first movement \nexposition repeat — all the other recordings retain it — but also his \nswift tempos. As recorded and restored, the performance has a \nsurprising lack of impact and majesty. This may be partly or wholly due \nto the sound, which is rather remote and cloudy. Regardless of the \nreason, Walter's recording is disappointing. Perhaps a modern \nrestoration would improve matters.\u003cbr\u003e \u003cbr\u003e Furtwängler's recording has \nlong been regarded as the gold standard for this work. It gives us the \nrare chance to hear the Berlin Philharmonic Orchestra of his time in \nhigh fidelity sound. It's the most expansive of the four performances, \nlasting about a minute and a half longer than either of Klemperer’s \nperformances, which run within a few seconds of each other. Furtwängler \npays his tribute to Schumann by his subtle variations in tempo, his \nmajestic treatment of the outer movements, his relative gentleness in \nthe inner movements and his not unexpected speeding up at the conclusion\n of the final movement.\u003cbr\u003e \u003cbr\u003e The two Klemperer performances are \nsimilar to each other in concept and, as mentioned above, in pacing. \nTempos are not slow, and in contrast with Furtwängler, steadily \nmaintained. Where the Philadelphia performance exceeds the studio \nversion is in, to quote Stearns again, its 'terrifying’ intensity. The \nlistener is confronted with a massive sound which is not static \nbut moving inexorably forward. The final movement builds up to a \nconclusion of overwhelming force, eliciting shouts of acclamation from \nthe audience. No thoughts of 'weak writing' here. This performance is a \nsupreme exposition of high German romanticism without the \ninterpretive distortions which sometimes accompany it. Alone worth the \nprice of the set.\u003cbr\u003e \u003cbr\u003e In conclusion, These two double albums will \nappeal strongly, not just to the conductor’s enthusiasts, but to all \nlovers of great conducting, effortless and sumptuous orchestral playing \nand ripe stereo sound. They will sustain repeated hearings. Audiences \nare well behaved throughout.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Jul\/Klemperer_Philadelphia_v12_PASC465.htm\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003eReview of Volumes 1 \u0026amp; 2:\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn October and November 1962, Otto \nKlemperer visited the United States for the first time in eight years, \nto conduct the Philadelphia Orchestra in a series of concerts in New \nYork, Washington, and Baltimore as well as Philadelphia. The 77-year-old\n conductor’s physical and mental health was precarious, and during this \nperiod he suffered from severe depression. Although Klemperer had long \npromoted the works of Bruckner and Mahler, which still enjoyed only \nlimited acceptance in the U.S., and had conducted much 20th-century \nmusic, he stuck close to what was then the mainstream in selecting works\n for this tour. The programs were heavily weighted toward Beethoven, \nincluding three of that composer’s symphonies (Nos. 3, 6, and 7) as well\n as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, along with one work each of J. S. Bach, Mozart, Schumann, and Brahms. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAccording to the account in Peter \nHeyworth’s biography of the conductor, critical response to these \nperformances was lukewarm, but audiences were more enthusiastic. \nKlemperer later criticized the orchestra in an interview, claiming that \nit was not as good as it had been when he conducted it decades earlier, \nnear the end of Stokowski’s tenure. I find it difficult to understand \nhis dissatisfaction, as the playing on these discs is for the most part \nexcellent, barring a few minor mishaps that are to be expected in a live\n performance, and the resulting performances are characteristic \nKlemperer. They display in abundance his typical concern for structure, \nphrasing, rhythmic precision, and balances; his ability to generate \ntremendous momentum at a comparatively deliberate pace; his probing for \ninner voices; and his striving to reveal each strand of the musical \nfabric distinctly, rather than in a homogenized blend. Not everyone, it \nmust be acknowledged, responds to the Klemperer style. Not too long ago,\n I was taken aback when an esteemed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n colleague informed me that he “hated” several of Klemperer’s widely \npraised studio recordings. In reviews of these concerts, critics often \nobjected to the slow tempos, and although it is a myth that Klemperer \nwas always a slow conductor, the tempos in these performances are often \nquite deliberate even by comparison with a good many other Klemperer \nrecordings of the same works. There is, however, nothing here that is \noutlandishly slow, as is the case with some of the performances he \nrecorded for EMI at the very end of his career, such as the Bruckner \nEighth and Mahler Seventh symphonies. A critic reviewing one of the \nPhiladelphia Orchestra concerts complained that every note “was \ninspected, mulled over….Every phrase was … viewed through an aural \ntelescope.” This comment is a pejorative description of a phenomenon I \nview as positive. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough there was a trend toward \nslower tempos in Klemperer’s performances as he aged, the progression \nwas not linear. For instance, the tempo in the first movement of this \nPhiladelphia performance of Mozart’s “Jupiter” Symphony is more \ndeliberate than in Klemperer’s 1968 live recording with the Vienna \nPhilharmonic (Testament) as well as his 1954 and 1962 EMI studio \nrecordings. As the movement begins, I am thinking, “This is too slow.” \nBut as the momentum builds, driven by forceful accents, incisive rhythm,\n and precise chording, I am soon captivated by the monumental grandeur \nof this conception. Grandeur is surely an essential element of the \n“Jupiter,” and it doesn’t get any grander than this. After a while, the \ntempo no longer seems slow at all. (Klemperer observes the exposition \nrepeat in both concert performances but not in the EMI recordings.) The \ntempo in the second movement differs little from that of the 1962 EMI \nrecording or the Vienna performance, although it is certainly deliberate\n by conventional standards. The playing evinces thoughtful, sensitive \nshaping by Klemperer and reminds us that his tempo control, although \ngenerally firm and unified, is by no means rigid. The pace in the \nMenuetto is similar to that in the later EMI recording, expansive and \ngrand but also kinetic, with more emphatic downbeats in the Philadelphia\n rendition. The finale is bracing, comparable in tempo to the 1954 EMI \nrecording. The vertical stresses are again stronger in the Philadelphia \nperformance, rendering the movement all the more majestic and heroic. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe movement timings in the \nPhiladelphia performance of Beethoven’s “Eroica” are similar to those of\n the 1959 EMI stereo recording. Those, along with a 1958 live \nperformance with the Stockholm Philharmonic (Medici Masters), are the \nmost expansive among the eight Klemperer performances I compared. The \n1960 live performance with the Philharmonia Orchestra in Vienna (Music \nand Arts) and the 1963 performance with the Vienna Symphony (Orfeo) are \nfaster, once again illustrating the non-linearity in the evolution of \nKlemperer’s tempo choices. The fastest of all, however, is a 1957 \nperformance with the Royal Danish Orchestra (Testament). Of the three \nmost expansive performances, I find the Philadelphia one the most \npersuasive. The Swedish orchestra plays well, but without the refinement\n or tonal weight and allure of the Philadelphians, who also surpass \nKlemperer’s own Philharmonia Orchestra, performing under studio \nconditions, in commitment and intensity. In the Philadelphia \nperformance, stresses are more forceful, climaxes more towering, and \ntension and momentum better sustained. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarcia funebre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is especially grim and cataclysmic. With its spaciousness, clarity, and\n bass definition, the Philadelphia recording is superior in capturing \nthe polyphony of the Klemperer sound. This is not an impetuous \nperformance, but it is a majestic and surely heroic one. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Pastoral” is from the same October\n 19 concert as the “Eroica,” the first concert of the Philadelphia \nseries. It is the slowest of the seven Klemperer recordings of this \nsymphony in my possession in all movements, and significantly so in the \nfirst three. The Philadelphia timing in the first movement (corrected to\n eliminate the pause between movements) is 14:06, as opposed to \n13:00–13:17 for the three Klemperer recordings chronologically closest \nto this one, the 1957 EMI recording, the 1960 Vienna Festival \nperformance with the Philharmonia Orchestra (Music and Arts), and the \n1964 live performance with the Berlin Philharmonic (Testament). (In all \nof his recorded performances of the “Pastoral,” Klemperer observes the \nexposition repeat.) As with the “Jupiter,” my initial reaction was that \nthe tempo is too slow, but with time I find more to appreciate in this \ngrand, monumental treatment, which builds a massive forward impetus \ndespite the deliberate pace. Other positive attributes include soaring \nclimaxes, insistent stresses, rich string sound, open texture, and \nsculpted detail. The second movement possesses many of those same \nvirtues, although with a timing a half-minute longer than in the EMI \nrecording, it is comparatively serene and quiescent, without the lyrical\n flow of that account or the more fervent expressivity of the 1960 \nVienna performance. The third movement relies on forceful accents and \ntonal weight rather than urgent forward movement for its energy, and its\n momentum once again builds gradually. But Klemperer then conjures quite\n a raging storm, proving once again that he could in fact conduct at a \nfast tempo when he so desired. With a timing only marginally longer than\n that of the EMI recording, the finale is urgent and fervent, once again\n with especially insistent stresses. The deliberate tempos in this \nperformance will no doubt try the patience of some listeners, and for \nthem the EMI recording or the Vienna Festival performance, with its more\n urgent pacing, joyful exuberance, and very good mono sound, would be \nb\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e in Philadelphia, Vol. 2: \u003cb\u003eMozart\u003c\/b\u003e, \u003cb\u003eBeethoven\u003c\/b\u003e, \u003cb\u003eSchumann\u003c\/b\u003e (1962)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 41 'Jupiter'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuetto Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Finale Molto allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 'Pastoral'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Ziemlich langsam — Lebhaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Romanze Ziemlich langsam\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo Lebhaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Langsam — Lebhaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLive stereo recordings, 1962\u003cbr\u003eTotal duration: 2hr 34:51\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975729741,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975729805,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975729869,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC467_d85d984f-71b4-4f7a-a639-aee361240d88.jpg?v=1487682303"},{"product_id":"paco046","title":"LEHMANN Schumann: Dichterliebe \u0026 Frauenliebe und -leben (1941) - PACO046","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Dichterliebe, Op. 48\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Frauenliebe und -leben, Op. 42\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1941\u003cbr\u003eTotal duration: 48:03\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLotte Lehmann\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO046.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis week (as I write it's 11th June, 2010) marks the 200th birthday \nof Robert Schumann, and what better way to celebrate the music of this \ngreat composer than with a recording of some of his finest work, \nrecorded 101 years after it was written by two of the finest musicians \nof the twentieth century?\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI was rather surprised to find the LP \nwhich served as source material for this transfer tucked away in the \nlarge collection we recently acquired. Housed in a paper envelope within\n a protective plastic outer sleeve, it appears from the notes pencilled \nonto the paper (\"Historical value - not hi-fi[!] - heavy rumble[?!]\" was\n one comment [with my punctuation!], \"Fully justifies issue\" the other) \nthat this was the copy which did the rounds at Philips when they were \ndeciding whether or not to licence the recording for issue in Europe \nfrom Columbia. The red tick in the top right hand corner is presumably \nconfirmation that a sufficient number of initials had been accumulated \non the sleeve to justify going ahead.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough dating from the \nsummer of 1941, you'd be hard-pushed to guess the vintage when listening\n to this remastering. The original, still available in a decent transfer\n elsewhere, had relatively low background noise, but a musical tone \nwhich was strident and rather thin, with a piano that was unrealistic \nand a voice that was rather too obviously \"microphonic\" of its era, if \nyou know what I mean.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen I first heard it, this LP sounded an \nideal candidate for XR remastering. Carefully-tailored re-equalisation \nbrought from it a truly believable piano and a glorious rendition of \nLehmann's voice, the realism of the former being an excellent guide to \nthe accuracy of reproduction of the latter. Careful application of \nfrequency-targeted noise reduction produced an incredibly clean and \nclear background which is, for the most part, just about inaudible.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt\n wasn't all plain sailing – there was a tendency to peak distortion in \nupper frequencies which has been largely tamed though is occasionally \nstill a little evident; there's some pre- and post-echo during sections \nof the first few tracks still just about audible; I've done a lot of \nwork on areas of swish and the clicks which inevitably arise from any \narchive disc-based recording, few though these were.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, I \nthink the end results will surprise many people, just as they've \nsurprised me – once again, it's hard to equate the actual vintage of the\n recording with the sound one hears when listening to it. A fitting \ntribute, therefore, both to the composer, Schumann, and to the artists, \nLotte Lehmann and Bruno Walter.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eLEHMANN\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Dichterliebe \u0026amp; Frauenliebe und -leben (1941)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Dichterliebe, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Im wunderschönen Monat Mai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Aus meinen Tränen sprießen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Die Rose, die Lilie, die Taube, die Sonne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Wenn ich in deine Augen seh\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Ich will meine Seele tauchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Im Rhein, im heiligen Strome\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Ich grolle nicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Und wüßten's die Blumen, die kleinen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Das ist ein Flöten und Geigen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. Hör' ich das Liedchen klingen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. Ein Jüngling liebt ein Mädchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Am leuchtenden Sommermorgen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e13. Ich hab' im Traum geweinet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e14. Allnächtlich im Traume\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e15. Aus alten Märchen winkt es\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e16. Die alten, bösen Lieder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 13th August, 1941, Los Angeles\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003e Frauenliebe und -leben, Op. 42\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Seit ich ihn gesehen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Er, der Herrlichste von allen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Ich kann's nicht fassen, nicht glauben\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Du Ring an meinem Finger\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Helft mir, ihr Schwestern\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Süßer Freund, du blickest mich verwundert an\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. An meinem Herzen, an meiner Brust\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Nun hast du mir den ersten Schmerz getan\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24th June, 1941, Los Angeles\u003cbr\u003eTransfer from Columbia Masterworks LP ML 4788 in the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May-June 2010\u003cbr\u003eCover artwork based on a photograph of Lotte Lehmann\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 48:03\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLotte Lehmann\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, piano\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\/PACO046.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO046.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":33979195533,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33979195661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33979195789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":33979195853,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO046.jpg?v=1489395799"},{"product_id":"pasc473","title":"MONTEUX at Tanglewood, Volume 2 (1959) - PASC473","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred - Overture\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eIntroduction and Allegro appassionato\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive stereo recordings, 1959\u003cbr\u003eTotal duration: 77:36\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePierre Monteux\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eRudolf Serkin\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPower and sweep conveyed through a stern, propulsive sinewy reading...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis isn’t the first time that this Tanglewood concert has appeared. \nBack in 2012 it turned up in a large West Hill Radio Archives box \ndevoted to Monteux’s Boston performances that was favourably reviewed \nhere by John Quinn (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/Feb12\/Monteux_WHRA6034.htm\"\u003ereview\u003c\/a\u003e),\n an excerpted paragraph of whose text forms part of the documentation \nfor this Pristine Audio release. What is missing from this latest \ntransfer, for reasons of space, is the \u003cem\u003ePrelude and Liebestod\u003c\/em\u003e from Tristan, though Pristine hopes that it will appear in a later volume in this mini-series. It’s available in that WHRA box.\u003cbr\u003e \u003cbr\u003e\n Monteux was an erratic Mendelssohnian. The Fourth Symphony saw him at \nhis most quixotic, and an earlier preserved example of his way with the \nFourth Symphony saw me spitting feathers in a previous review of Sunday \nEvenings with Pierre Monteux (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2007\/Mar07\/Monteux_CD1192.htm\"\u003ereview\u003c\/a\u003e)\n on Music and Arts. This 1959 example has a somewhat more temperate \nfirst movement but it is still bass-heavy and too fast, giving it a \nrather galumphing quality, that never settles. Whether Monteux was \ntrying to inflate symphonic Mendelssohn to make a point or was \nsubconsciously hustling through to keep up with the likes of Cantelli, \nis a debate that will lead nowhere. He does at least take the first \nmovement repeat. Things stabilise thereafter – the third movement is \ndefinitely ‘con moto’ - but the sound is cool and a bit dry and doesn’t \nflatter in its lack of resonance. The Saltarello is, once again, \nbig-boned.\u003cbr\u003e \u003cbr\u003e For the First Piano Concerto he was joined by Rudolf\n Serkin, who improves as the work develops. Dropped notes in live \nconcerts don’t especially concern me, though Serkin drops his fair share\n and sounds a little uncomfortable during the first movement, and \nneither man is given to rococo elements in this work. By the finale, \nhowever, things are motoring purposefully.\u003cbr\u003e \u003cbr\u003e The remainder of the\n concert is devoted to Schumann. Serkin is on good form in the \nIntroduction and Allegro Appassionato and in Manfred we hear Monteux \napproaching something like his best in this disc – power and sweep \nconveyed through a stern, propulsive sinewy reading.\u003cbr\u003e \u003cbr\u003e That said,\n there are erratic and interpretatively individualistic elements aplenty\n in this disc. If you’ve not encountered it before it may be useful in \ndrawing out the nature of Monteux’s affiliations – a stronger conductor \nin Schumann than Mendelssohn on this showing.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe concert of 1 August 1959 for the summer music festival of the \nBoston Symphony features two veteran musicians, Pierre Monteux \n(1875-1964) and pianist Rudolf Serkin (1903-1991). Collectors are likely\n aware that Serkin recorded the two concertante pieces for CBS with \nEugene Ormandy and the Philadelphia Orchestra under slightly less manic \nconditions. Still, if one can forgive Serkin’s finger slips – mostly in \nthe \u003cem\u003eConcerto’s \u003c\/em\u003efirst movement – the performance here proffers a musical fireball by two acolytes of the Romantic ethos.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMonteux opens with a work he did not record for RCA commercially, the \u003cem\u003e“Italian” Symphony\u003c\/em\u003e\n of Mendelssohn. Monteux takes the oft-neglected repeat in the first \nmovement, and then proceeds to compensate for the added minute by \ninjecting a heated velocity into the remainder of the movement. The \naudience applauds the players for their sheer bravura. The proceeding \nmovements enjoy both a fleet pace and sensitive articulation, \nlight-footed and eminently enthusiastic. Always a stickler for \ninterior-voice clarity, Monteux fashions an Italian romp that has energy\n and singing virtuosity.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSchumann’s gloomy \u003cem\u003eOverture\u003c\/em\u003e to the Byron poem “Manfred” has \nhad its ponderously “profound” moments, but this is not one of them. \nMore interested in propulsive drama, Monteux maintains a distinctly \ntragic quality in the music while driving it inexorably forward. In this\n respect, Monteux’s reading reminds me of that by Beecham. The upward \nscales in the late pages enjoy a potent momentum whose burnished string \nsound testifies to “the aristocrat of orchestras.” The BSO brass prove \nno less fervent and deserve high praise for their epic sonority, insofar\n as Nature teaches Manfred “the language of another world.”\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSchumann intended the 1849 \u003cem\u003eIntroduction and Allegro appassionato\u003c\/em\u003e as a display piece for wife Clara, after the initial success of the \u003cem\u003eConcerto\u003c\/em\u003e\n of 1845. Its opening filigree enjoys a pastoral range of harmony, and \nSerkin appears in his most poetic form. The rather imperious march that \nconstitutes the second half of this rousing sixteen-minute work suggests\n another of Schumann’s calls to arms against the cultural philistines. \nThe martial elements of the second section have their foil in dreamy, \nnostalgic phrases in waltz-character. Some liquid French horn work and \nopulent upper brass announce the composer’s aesthetic and moral victory.\n The clapping has burst forth long before Serkin’s final notes.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"http:\/\/www.audaud.com\/monteux-at-tanglewood-vol-2-mendelssohn-piano-con-no-2-sym-no-4-schumann-intro-manfred-ov-w-serkin-p-pristine\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC473.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The performance here proffers a musical fireball by two acolytes of the Romantic ethos\" - Audiophile Audition\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor this second volume of live broadcast recordings by Monteux and \nthe Boston Symphony Orchestra at Tanglewood we revisit a concert held on\n 1st August, 1959. The concert is presented as performed, minus the \nlengthy introductions from the radio announcer and, alas for reasons of \ntime, the final Wagner Prelude and Liebestod from Tristan. I hope that \nthis will appear, along with other recordings from this short series, on\n a final disc compiled from the different years we are covering.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOnce\n again the sound is big and wide, though more controlled than in 1958, \nand I've resisted the temptation to narrow it as was necessary in the \nprevious volume. Whilst there is perhaps the hint of a gap in the middle\n during the orchestral pieces, this is well filled when Serkin takes to \nthe piano. As before, close miking resulted in a slightly over-dry sound\n quality to the original broadcasts, something I've been able to \nalleviate in a manner sensitive to the material. Sound quality in both \nbroadcasts was excellent, and has been very well preserved, with one \nminor tape dropout easily cured. XR remastering has further enhanced the\n sound, and careful digital noise reduction has lowered tape hiss \nlevels, more prominent in the second half of the programme, without \nimpacting on the clarity of the recording.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMONTEUX\u003c\/b\u003e at Tanglewood, Volume 2 (1959)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Symphony No. 4 in A major, Op. 90, 'Italian'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Con moto moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Saltarello — Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Piano Concerto No. 1 in G minor, Op. 25\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Molto allegro con fuoco\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto — Molto allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred, Op. 115 - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchumann: Manfred, Op. 115 — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Introduction and Allegro appassionato, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchumann: Introduction and Allegro appassionato, Op. 92\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 1 August, 1959\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Serkin\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePierre Monteux\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded at the Koussevitzky Music Shed, Tanglewood\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\/PASC473.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC473.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":31975845453,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975845517,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975845709,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC473_064ce61c-0c6f-4857-bc11-f8045e335d4d.jpg?v=1487682405"},{"product_id":"pasc403","title":"MUNCH Boston Rarities Volume 1 (1950\/51) - PASC403","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 1 in B-Flat, “Spring”\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 4 in E Minor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio Recordings · 1950\/51\u003cbr\u003eTotal duration: 72:06\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fVive le beau Charles! 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese are great performances, available\n for the first time on CD. Why should one get monaural recordings of \nworks Munch and the BSO re-recorded in stereo? First, as producer Mark \nObert-Thorn notes, the present version of the Schumann includes repeats \nin the first and fourth movements that Munch omitted in his 1959 remake.\n The repeats contribute to the majesty and depth of Munch’s overall \nconception. Second, Munch rarely gave the same interpretation of a work \nin repeat performances. He was a highly improvisational artist, which in\n part accounted for his relaxed attitude toward rehearsals. Michael \nSteinberg, the BSO’s longtime program annotator, wrote that Munch was \n“short on discipline and sheer industry,” but I think he just saw no \nneed to imprint one specific performance on the orchestra during \nrehearsal. My high school music teacher said that Munch was “too nice a \nguy,” yet if you take him in total you appreciate the results that he \ngot. As with Karajan and Giulini, Munch’s handsome features gave him an \nadvantage in drawing a beautiful sound out of an orchestra. As an older \nwoman I know said to me of Munch, “I thought he looked like God.” \nCertainly the performances on the present CD are filled with electricity\n and sheer sonic beauty. Martin Bookspan wrote that Munch had a tendency\n to “freeze up” in the recording studio, but that’s not the case here. A\n BSO player commenting on the succession of Erich Leinsdorf to Munch as \nmusic director said, “The highs were not as high, but the lows were not \nas low.” Luckily we have two instances here of “the highs.” \u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the “Spring” Symphony, the introduction of the opening movement is like the unraveling of some cosmic matter, a sort of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMaestoso \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003echurning\n of the heavens. The movement’s main section is loaded with charm, as \nall nature comes to life. The BSO players are on the edge of their \nseats. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003epresents\n a pastoral idyll, with the sun and clouds shifting through the trees. A\n peasant feeling dominates the scherzo, mixing together song and dance. \nThe final movement’s high spirits almost sound a bit tipsy, as if \nSchumann were translating his heavy drinking into sound. This surely is \none of the great statements of this symphony. In the Brahms Fourth, one \nnotes Munch’s admiration for Toscanini. There is the same quickness in \ntempo and clarity of texture, although Munch draws a more beautiful \nsound out of the BSO than Toscanini did from the NBC. At no point do we \nencounter the Central European indulgence in phrasing and plushness of \nsound that one hears, say, from Wolfgang Sawallisch and the London \nPhilharmonic. Munch’s opening movement is direct and unaffected. The \nseverity of its rhetoric is offset by a bucolic feeling in the winds. \nHis slow movement sounds like a dramatic soliloquy, Shakespearean in its\n sense of self-revelation. The third movement is positively Jovian, \nhaving an Olympian jocosity. For the last movement, Munch takes the \ndirection “with energy and passion” very much to heart. To Munch, \nthere’s an inevitability to this last symphonic movement by \nBrahms—nothing could follow it. I’m not sure I always would want to hear\n the Brahms Fourth this way, but when I’m in the mood it’s fantastic. \u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe sound engineering is full and \nprobably too reverberant, although the Brahms is a little closer up than\n the Schumann. Obert-Thorn has opted to leave in a lot of tape hiss, \nwhich in all likelihood does the tone color some good. My favorite \nstereo version of the Schumann is the period performance informed \naccount by Florian Merz conducting the Klassische Philharmonie \nDüsseldorf. For a traditional rendition, I like Christoph Eschenbach \nwith the Bamberg Symphony; I have not heard his Hamburg remake. The best\n stereo Brahms Fourth I know is Antal Doráti’s with the London Symphony.\n Charles Munch’s recordings were an integral part of my upbringing, so \nencountering the present reissue was like meeting again a treasured and \nadmired friend. All I can say about this CD is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVive le beau Charles! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:1 (Sept\/Oct 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC403.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis release is the first of two which focus on Munch\/Boston studio \nrecordings that have never seen an “official” CD reissue, not even in \nthe 40-CD (plus one bonus CD) Japanese RCA series, “The Art of Charles \nMunch”. The present program features two symphonies recorded early in \nMunch’s Boston tenure. One distinguishing characteristic of the Schumann\n is that the first and fourth movement repeats are observed on this \nrecording, while they are cut in Munch’s 1959 stereo remake.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe original LPs were burdened with a rather uningratiating sound \n(surprisingly from the same Richard Mohr\/Lewis Layton team which would \ngo on to produce so many excellent “Living Stereo” releases) – \nover-reverberant and limiter-plagued. This was a conscious choice in \nRCA’s engineering from the mid-1940s through the early ‘50s to suggest, \nas one modern critic put it, a sound so huge, it could scarcely be \ncontained by the microphones. Adding insult to injury, the original LP \nissue of the Schumann was pitched a semitone sharp, and the first \nmovement contained several minor but noticeable pitch drops. These have \nbeen corrected in the current release.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMUNCH\u003c\/b\u003e Boston Rarities Volume 1 (1950\/51)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 1 in B-flat major, Op. 38, “Spring”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Andante un poco maestoso; Allegro molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegretto animato e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1951 in Symphony Hall, Boston\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on RCA Victor LM-1190\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro giocoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro energico e passionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 - 11 April 1950 in Symphony Hall, Boston\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on RCA Victor LM-1086\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBoston Symphony Orchestra · Charles Munch\u003c\/b\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\/PASC403.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC403.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cb\u003eMunch in Boston\u003c\/b\u003e\u003cp\u003eMunch made his début with the Boston Symphony Orchestra on 27 \nDecember 1946. He was its Music Director from 1949 to 1962. Munch was \nalso Director of the Berkshire Music Festival and Berkshire Music Center\n (Tanglewood) from 1951 through 1962. He led relaxed rehearsals which \norchestra members appreciated after the authoritarian Serge \nKoussevitzky. Munch also received honorary degrees from Boston College, \nBoston University, Brandeis University, Harvard University, and the New \nEngland Conservatory of Music.\u003c\/p\u003e\u003cp\u003eHe excelled in the modern French repertoire, especially Claude \nDebussy and Maurice Ravel, and was considered to be an authoritative \nperformer of Hector Berlioz. However, Munch's programs also regularly \nfeatured works by composers such as Bach, Haydn, Mozart, Beethoven, \nSchubert, Schumann, Brahms, and Wagner. His thirteen-year tenure in \nBoston included 39 world premieres and 58 American first performances, \nand offered audiences 168 contemporary works. Fourteen of these \npremieres were works commissioned by the Boston Symphony and the \nKoussevitzky Music Foundation to celebrate the Orchestra's 75th \nAnniversary in 1956. (A 15th commission was never completed.)\u003c\/p\u003e\u003cp\u003eMunch invited former Boston Symphony music director Pierre Monteux to\n guest conduct, record, and tour with the orchestra after an absence of \nmore than 25 years. Under Munch, guest conductors became an integral \npart of the Boston Symphony's programming, both in Boston and at \nTanglewood.\u003c\/p\u003e\u003cp\u003eMunch led the Boston Symphony on its first transcontinental tour of \nthe United States in 1953. He became the first conductor to take them on\n tour overseas: Europe in 1952 and 1956, and East Asia and Australia in \n1960. During the 1956 tour, the Boston Symphony was the first American \norchestra to perform in the Soviet Union.\u003c\/p\u003e\u003cp\u003eThe Boston Symphony under Munch made a series of recordings for RCA \nVictor from 1949 to 1953 in monaural sound and from 1954 to 1962 in both\n monaural and stereophonic versions.\u003c\/p\u003e\u003cp\u003eSelections from Boston Symphony rehearsals under Leonard Bernstein, \nKoussevitzky, and Munch were broadcast nationally on the NBC Radio \nNetwork from 1948-1951. NBC carried portions of the Orchestra's \nperformances from 1955-1957. Beginning in 1951, the BSO was broadcast \nover local radio stations in the Boston area. Starting in 1957, Boston \nSymphony performances under Munch and guest conductors were disseminated\n regionally, nationally, and internationally through the Boston Symphony\n Transcription Trust. And, under Munch, the Boston Symphony first \nappeared on television.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cem\u003e\u003cb\u003eWikipedia\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":90077364250,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":90077397018,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":90077429786,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC403_fa840ab3-2f92-4943-91a7-7c688e57fd97.jpg?v=1501752110"},{"product_id":"pacm092","title":"ROSTROPOVICH Chamber Music, Vol. 2 (1948-56) - PACM092","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e String Trio No. 1\u003cbr\u003e\u003cb\u003eHANDEL\u003c\/b\u003e Larghetto from Sonata in D\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Stücke in Volkston Nos. 1 \u0026amp; 4\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Stimmungsbilder No. 2\u003cbr\u003e\u003cb\u003eSINDING\u003c\/b\u003e Presto from Suite im alten Stil\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio Recordings · 1948-56\u003cbr\u003eTotal duration: 60:09\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eRudolf Barshai\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eVladimir Yampolsky\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is great stuff! Strongly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is great stuff! I’ll admit that for the first\n minute or so of the Beethoven Trio, recorded in Moscow in 1956 and \ntransferred from Melodiya ND 03458-03459, it sounds like the original \nrecording engineer was twiddling the knobs to try optimize the balance \nand aural perspective, because first the players sound distant, then \nclose up, then soft, and then loud. But once the sonic image settles \ninto a stable and comfortable place, the performance one is treated to \nis simply magnificent. Put three of the 20th century’s top Russian \nstring players—Leonid Kogan, Rudolf Barshai, and Mstislav \nRostropovich—together, and you were bound to have a surefire success. \nThe sharp definition and unanimity of articulation one hears in the \nplaying are simply amazing; and the up-tempo, intensely focused, and \nlyrical largesse of this reading—where the music calls for it—lend this \nearly work by Beethoven a stature it doesn’t always achieve in lesser \nhands.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is not the same performance of the trio by \nthese three players that was recorded live in 1960 at the Prague Spring \nFestival, and which can be heard on a Supraphon CD. It is, however, the \nsame performance that was reviewed by William Zagorski in 16:3, when it \nwas released on Melodiya 10-00552. That review may be a bit confusing \nbecause it covers two separate CDs (the other being Melodiya 00550), \nwhich parses the material differently across the two discs than how it’s\n programmed on this Pristine release. But if you search out Pristine’s \ncompanion to this album, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRostropovich Chamber Music Volume 1\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n you’ll find some (not all) of the works included on the two Melodiya \nCDs. Unfortunately, I haven’t heard either of those discs, so I can’t \ntell attest to how they compare to this “XR” Pristine remastering, but I\n can attest to the phenomenal results Andrew Rose has achieved for this \nrelease.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remainder of the program is given over to \nRostropovich and Vladimir Yampolsky in a sequence of excerpts from \nlarger works, recorded between 1948 and 1953. Three of them, of \ncourse—the Handel, Strauss, and Sinding—are arrangements for cello from \ntheir original instrumentation. The first movement of the Sinding Suite,\n a perpetual motion piece, originally for violin, is very effective on \ncello, and an excellent virtuoso vehicle for displaying Rostropovich’s \nimpressive technique.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is a most enjoyable album, and another credit to Andrew Rose and his Pristine label. Strongly recommended. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM092.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe original records containing these recordings \nprovide an excellent example of the rapid progress made in recording \ntechnology with the advent of tape and the LP, with the \u003cem\u003eTrio\u003c\/em\u003e \nrecording a significant step forward from the sound of the earlier short\n pieces. The sound quality buried in those 1956 grooves in particular \nturned out to be astonishingly good when released by an XR remastering. \nCertainly it is only the mono source that now gives away the age of the \nrecording - though for most listeners I heartily recommend the Ambient \nStereo edition and the sense of space around the instruments this \ncreates.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe last-minute discovery of a 1993 Fanfare review \nanswers some questions regarding recording dates with Yampolsky, the \ninitial dullness of which has here been improved upon quite \nsuccessfully. Elsewhere the reviewer bemoans the incomplete nature of \nthese odd movements. I suspect the recordings were made to fit odd 78rpm\n sides and the works in question were never recorded in their complete \nforms. Regardless, they turn out to be older than I imagined, leaving me\n even more surprised at their inherent sound quality.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOne truly bizarre anomaly raised its head: in the \nfourth movement of the Beethoven a tape edit had been made where a few \nnotes had been spliced in backwards! Naturally this has now been \nremedied.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eROSTROPOVICH\u003c\/b\u003e Chamber Music, Vol. 2 (1948-56)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e String Trio No. 1 in E flat, Op. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Menuetto Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eV.\u003c\/b\u003e Menuetto Moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVI.\u003c\/b\u003e Finale Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Barshai\u003c\/b\u003e viola\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Moscow, 1956\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransfer from Melodiya ND 03458-03459\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANDEL\u003c\/b\u003e Violin Sonata in D, Op. 1, No. 13: 3rd mvt. - Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 1. Vanitas vanitatum: Mit Humor\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 4. Nicht zu rasch\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Stimmungsbilder, Op.9: 2. An einsamer Quelle\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSINDING\u003c\/b\u003e Suite im alten Stil in A minor, Op. 10 - 1st mvt. - Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eShared recording information:\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVladimir Yampolsky\u003c\/b\u003e piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1948 - 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransfer from Melodiya 33D-027827\u003c\/span\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\/PACM092.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM092.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cem\u003eRostropovich Chamber Music (Melodiya CD issue, 1992)\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom a Western perspective, the political events of the last couple \nof years are enough to make one's head spin. From an Eastern \nperspective, they have to be a whole lot more than that. Gosh, how I \nmiss Winston Churchill's wondrous “Iron Curtain.“ It so clearly defined \nwho the enemy was, and gave us all such a compelling sense of purpose. \nAs a product of the postwar McCarthy era, I was duly indoctrinated \nagainst the evils of Soviet Communism. It produced a grim, joyless, \ndour, cultureless society that was best gotten rid of—especially in \nlight of the fact that it was hell-bent on getting rid of us. I \ndutifully persisted in this politically correct mind-set until I \ndiscovered a few ancient and extraordinarily crude LPs released under \nthe imprimaturs of Coliseum and Bruno. They contained standard (and \nnot-so-standard) repertoire stuff performed by then largely unknown \nSoviet artists. Thus it was that I first heard David Oistrakh, Leonid \nKogan, Mstislav Rostropovich, Vladimir Yampolsky, Sviatoslav \nKnushevitsky, and Kiril Kondrashin. Those recordings were all “produced“\n by one Bruno G. Ronty, who, apparently, gained access to a number of \nbootleg Soviet LPs and used them as sources for the production of his \nown record line, hence the dismal sound— similar to hearing an LP that \nhad been pressed on wretched vinyl through a bad telephone connection. \n“How lousy Soviet recording is—“ I concluded;—“Yet another example of \nWestern supremacy and Soviet backwardness.“ On a couple of releases \nRonty proudly stated that no moneys from the sale of these records would\n ever reach their [evil] sources.\u003c\/p\u003e\u003cp\u003eOne of my prize Coliseum releases of that era is CRLP 179, containing\n a postwar recording of Lalo's Symphonie Espagnole (with the usually \nmissing Intermezzo) played by a then quite young David Oistrakh and \nseconded by Kiril Kondrashin—by all measures but sonic excellence, a \nfabulous recording.\u003c\/p\u003e\u003cp\u003eDuring the ensuing decades other Soviet releases reached the shores \nof New Jersey via more legitimate channels. A company called Connoisseur\n Record Corp., in Kearny, NJ, began to release a series of mono LPs from\n both the MK and Supraphon catalogs. Thus it was, as callow youth, that I\n first heard the Leningrad Philharmonic under Yevgeny Mravinsky in a \nperformance of Prokofiev's Sixth Symphony. I had never heard the piece \nbefore, and that performance (lovingly preserved in eminently decent \nsound on ALP-158) is, many years and many recordings later, still the \none by which I judge all others.\u003c\/p\u003e\u003cp\u003eSoviet recordings eventually penetrated the American market via \nseveral other Western companies—Monitor, EMI, and later CBS. In our \ndigital era, MCA has issued a number of releases, as has Sheffield Labs \n(see Fanfare 11:1, “Sheffield Goes to Moscow,“ by Peter Rabinowitz). A \nfew other releases reached our shores on Olympia, and I have in my \nlibrary one recording on Melodiya Australia (distributed by Allegro \nImports). Now, finally, with the collapse of the Soviet Union (and under\n the duress of having to raise hard currency), Melodiya is marketing its\n vast, varied, and often distinguished catalog on its own. As a fan of \ntheir work over the years, I wish them all the best.\u003c\/p\u003e\u003cp\u003eUpon examining these two offerings, I have a few minor, and I hope \nfairly innocuous, quibbles. Each box proudly states “Made in the USSR.“ \nIn fact, though the recordings and jewel box design are Russian, the CDs\n themselves were manufactured by American Helix. For a moment I thought \nthat Russia had a CD production facility, but no such luck. The \nmarketing strategy of Melodiya, as demonstrated here, is to exploit the \nWestern name recognition of the major artists involved—Rostropovich, \nGilels, Kogan, and (to aficionados of the art of accompaniment) \nYampolsky, are all, and have been, well-established figures for years. \nThis approach makes sense, but here it has been executed at the expense \nof repertoire considerations. On the first disc only two of Schumann's \nStücke im Volkston are given. Given performances of this quality, I \nwould have liked to hear the remaining three numbers. I feel it would \nhave been wiser to program the whole set at the expense of the \noverexposed Kinderscenen excerpt and the Sinding Presto. Likewise, on \nthe second disc, the Larghetto from Handel's Sonata in D, op. 1, No. 13,\n needs its companion movements in order to be a viable musical \nexperience.\u003c\/p\u003e\u003cp\u003eThe “star“ of these two releases is Mstislav Rostropovich. The first \ndisc covers his career from 1948 (the Sinding Presto) through 1953 (the \ntwo excerpts from Stücke im Volkston)—long before he had become an \ninternationally known figure. The second CD contains performances from \n1949 (the Chopin Introduction and Polonaise Brilliante) through 1956 \n(the Beethoven Trio for Violin, Viola, and Cello). Along the way one can\n partake of the outstanding work of a comparatively youthful Emil Gilels\n (forty years old in Beethoven's Trio, op. 97); Leonid Kogan (thirty-two\n years old in both the Beethoven Trios, op. 3 and op. 97), and of \nviolist Rudolf Barshai before the founding of his Moscow Chamber \nOrchestra. In all cases, the sound is eminently decent for its vintage.\u003c\/p\u003e\u003cp\u003eBeethoven's Trio No. 1 for Violin, Viola, and Cello in E♭, op. 3, and\n his “Archduke“ Trio, op. 97, are the two main events on these releases.\n All six movements of op. 3 are given equally robust and sensitive \nperformances—pointed, beautifully intoned, and informed with both \nvitality and a particularly Russian brand of whimsy. For once this piece\n of youthful (ca. 1786) Beethoven is given its due.\u003c\/p\u003e\u003cp\u003eThe “Archduke“ Trio, in the hands of Gilels, Kogan, and Rostropovich,\n receives an arching, ruminative, and noble reading. Phrases speak with \nan eloquence they seldom have in the hands of more modern, objective \nplayers. All elements—attack, dynamics, and tone color—are brought into \nplay and masterfully exploited in the making of an expansive, quietly \nheroic performance. This is the tradition that had already produced \nDavid Oistrakh and would eventually spawn Yuli Turovsky.\u003c\/p\u003e\u003cp\u003eThe other pieces, despite their modest dimensions, or overall worth, \nare all done as if they are the musical end of the world. Of special \nnote is the Villa-Lobos Prelude from Bachiana Brassileira No. 1—here \ngiven an intensely dark, brooding, and Russianly manic reading.\u003c\/p\u003e\u003cp\u003eAs I stated above, the sonics on these two releases are, by Western \nstandards, fine for their respective ages. To anyone familiar only with \nthose old Coliseum and Bruno releases, these samples of \nlate-1940s-through mid-1950s Soviet recording will prove, in this CD \nincarnation, astonishing. To those familiar with subsequent Soviet \nreleases distributed in the West, these offerings will be more than \nmerely technically competent—they will prove to be musically satisfying.\u003c\/p\u003e\u003cp\u003eI hungrily await future releases.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by William Zagorski\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 16:3 (Jan\/Feb 1993) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003eThe recordings referred to include those on this release and those on PACM090\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":"Ambient Stereo 24-bit FLAC","offer_id":37144245581,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144245773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144245965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144246285,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM092_00fa38d8-a0d0-41cd-8b1d-cd9c3c63ba70.jpg?v=1494337649"},{"product_id":"pakm066-cd","title":"DORFMANN plays Grieg, Mendelssohn and Schumann - PAKM066 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31418323469,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM066.jpg?v=1658416751"},{"product_id":"pacm014-cd","title":"SCHNABEL \u0026 PRO ARTE QUARTET Schumann: Piano Quintet (1934) - PACM014 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418138573,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM014.jpg?v=1657120361"},{"product_id":"pacm088-cd","title":"EDWIN FISCHER TRIO plays Beethoven, Brahms and Schumann (1953) - PACM088 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31479128717,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM088_b3195405-79b5-44fc-94da-9d36e7aab223.jpg?v=1658480673"},{"product_id":"pacm092-cd","title":"ROSTROPOVICH Chamber Music, Vol. 2 (1948-56) - PACM092 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM092.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976311437,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM092.jpg?v=1658480801"},{"product_id":"pasc401-cd","title":"CASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC401.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976334349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC401_9d551449-365e-457e-a24d-8a4a6d6cf789.jpg?v=1658741869"},{"product_id":"pasc403-cd","title":"MUNCH Boston Rarities Volume 1 (1950\/51) - PASC403 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC403.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976338189,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC403_075d941d-ebf3-4a4d-8a73-f87771fe0d44.jpg?v=1658741915"},{"product_id":"pasc408-cd","title":"DOHNÁNYI plays Dohnányi, Haydn, Beethoven, Schumann (1951\/56) - PASC408 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976359885,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC408_06542e2e-2293-4540-9c1b-b10ab78ef195.jpg?v=1658742010"},{"product_id":"pasc447-cd","title":"CORTOT Concertos, Volume 2: Schumann \u0026 Bach (1927-37) - PASC447 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976440589,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC447.jpg?v=1658742865"},{"product_id":"pasc467-cd","title":"KLEMPERER in Philadelphia, Vol. 2: Mozart, Beethoven, Schumann (1962) - PASC467 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976487437,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC467_deeef148-48bd-4e47-8f7a-d7f362663f0e.jpg?v=1658743306"},{"product_id":"pasc473-cd","title":"MONTEUX at Tanglewood, Volume 2 (1959) - PASC473 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976501133,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC473_ef0e504a-50c8-439f-86e7-8e361978e89a.jpg?v=1658743562"},{"product_id":"paco109-cd","title":"DUHAN, DENIJS Schumann: Dichterliebe, Schubert: Schwanengesang (1928\/29) - PACO109 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976549901,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO109_184d861c-caf7-4c40-a6cd-667c5d15737e.jpg?v=1658495793"},{"product_id":"paco116-cd","title":"DANCO The Complete Schumann Recordings (1949\/52) - PACO116 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976566093,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO116_6fc8d9d1-e45b-40b8-ac35-3780afea7e88.jpg?v=1658495956"},{"product_id":"paco079-cd","title":"FLAGSTAD Song Recital 1 - Schumann: Frauenliebe und -leben; Grieg: Haugtassa (1950\/52) - PACO079 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478080653,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO079_865f43a3-da13-4742-88e7-233cd4fa4433.jpg?v=1658483876"},{"product_id":"paco046-cd","title":"LEHMANN Schumann: Dichterliebe \u0026 Frauenliebe und -leben (1941) - PACO046 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478091597,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO046_4029a59e-fc98-4ae0-b624-1215fd2a5ed9.jpg?v=1657707285"},{"product_id":"paco025-cd","title":"HÜSCH Schumann: Dichterliebe (1936) - PACO025 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478101389,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO025_22835099-eec4-45ea-8387-0c0a0c38f1ea.jpg?v=1657120012"},{"product_id":"pakm016-cd","title":"K. LONG Schumann: A Piano Recital (1948-50) - PAKM016 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478127373,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM016_cf0542ff-fd6f-4ade-9398-3bb5b34b7bd0.jpg?v=1657198104"},{"product_id":"pakm009-cd","title":"JOHANNESEN Schumann: Piano Sonata No. 2, Six Intermezzi (1953) - PAKM009 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478134221,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM009_5ba20264-56e6-446a-ab12-fb82eb0213ed.jpg?v=1657198216"},{"product_id":"pasc322-cd","title":"WALTER Polydor Acoustics Volume 2: Overtures (1923-25) - PASC322 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478138061,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC322_fa611699-4caa-4e26-9486-f885f68166b7.jpg?v=1658307647"},{"product_id":"pasc335","title":"COPPOLA conducts Schumann, Wagner \u0026 R. Strauss (1933-46) - PASC335","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 3\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Orchestral excerpts\u003cbr\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eSalome - Orchestral excerpts\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1933-46\u003cbr\u003eTotal duration: 79:32\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNational Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eParis Conservatoire Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePasdeloup Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePiero Coppola\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUltimately, you forget this is all a window on the past and are only sorry that the music has ended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePiero Coppola is a name less familiar to historic \nCD collectors than many. As a conductor Coppola was not one of the great\n iconic figures between the wars, but achieved a certain fame as the \nhead of His Master’s Voice in France. In this capacity he led and \nrecorded some of the great early French discs of Debussy and Ravel, \nincluding the first recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Schumann performances featured here begin with\n the most recent, the 1946 “Spring” Symphony Coppola recorded with Decca\n in Kingsway Hall. To its credit, one is struck by the modernity of the \nacoustic. (Would that Toscanini had been exposed to FFRR and recorded \nhere!) This is a normal-sounding orchestra in a normal symphonic space, \nthough \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003enoted\n the timpani weak when it was first reviewed, and I concur. That is a \nfairly serious flaw in Schumann. French ensembles of the era have not \noften been admired, and indeed are at times subject to caricature as \n“wheezing accordions,” but the French National Orchestra here, except \nfor a pinched oboe, sounds perfectly modern to me. As an interpretation,\n this “Spring” comes across as neither Szellish nor Furtwanglerian, but \noccupies a relaxed and natural middle ground, though a bit on the slow \nside as the movements proceed. When a conductor can expand nicely in the\n big fanfare climax of the first movement, you know you are on safe \nground, and Coppola does. The transfer is very good, with only the \ntiniest bit of refined hiss now and then to remind anyone of its 78-rpm \npast.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe 1933 “Rhenish” that follows does show its age,\n yet is somehow quite listenable. It is a mainstream interpretation \nrendered quite thrusting by up-close miking, but there is enough bass \nand acoustic space to feel the music float on its own tremoli, which is \nessential in Schumann. One notes in early recordings a tendency to play \nsolemn music quickly, probably to avoid boring people over the racket of\n the mechanics, and that is the case here with the “cathedral” movement.\n A rather French-sounding trumpet gives an unusually jaunty quality to \nthe finale. It is notable, though, how judicious and modern the use of \nportamento is throughout and how decently accurate the playing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere is a nice sense of fullness and drama to the\n Wagner excerpts that follow, though once again we are speeding along \nlike a movie score of the time. The pendulum-like solemnity of the \nTransformation Music is normally such that one feels clobbered by \nanvils. Here it is more like a stage villain trying to mesmerize a \nmaiden with a pocket watch.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven so, both the Wagner and the Strauss excerpts \nare effective, the latter somehow fuller and more evocative sonically. \nIndeed, the Pasdeloup horns sound very up-to-date, atmospheric, and \nevocative, as befits an orchestra named “Wolf-Step”! Ultimately, you \nforget this is all a window on the past and are only sorry that the \nmusic has ended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eSteven Kruger  \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC335.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eCoppola turns his talents to German composers, with superb results\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"he brings to this performance an altogether outstanding sympathy and a close understanding \u003cbr\u003eof Schumann's essential warm-heartedness and naïveté\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers were French Deccas for the Schumann ‘Spring’ Symphony; Disque Gramophone pressings for the ‘Rhenish’ and the \u003cem\u003eParsifal\u003c\/em\u003e excerpts; and a first edition late Orthophonic American Victor pressing for the \u003cem\u003eSalome\u003c\/em\u003e disc.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCOPPOLA\u003c\/b\u003e conducts Schumann, Wagner \u0026amp; R. Strauss (1933-46)\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 1 in B flat major, Op. 38, \"Spring\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11-12 July 1946, Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: AR 10462-2, 10463-2, 10464-2, 10465-2, 10466-1, 10467-1, 10468-2 and 10469-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Decca AK 2151 through 2154\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNational Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 3 in E flat major, Op. 97, \"Rhenish\"\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7-8 November 1933, Salle Rameau, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2PG 1195-97 and 1203-05 (all Take 1A)\u003cbr\u003eFirst issued on Disque Gramophone DB 4926-28\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Orchestral excerpts\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 November 1933, Salle Rameau, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2PG 1191-94 (all Take 1A)\u003cbr\u003eFirst issued on Disque Gramophone DB 4918-19\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Salome - Orchestral excerpts\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 March 1934, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 0PG 1426-1 and 1427-1\u003cbr\u003eFirst issued on Disque Gramophone DA 4854\u003cbr\u003e\u003cb\u003eOrchestre des Concerts Pasdeloup\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePiero Coppola\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Piero Coppola\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:32\u003c\/b\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\/PASC335.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC335.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - SCHUMANN Symphony No. 1\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThat Coppola had a particular affection for Schumann we already more than suspected; now he brings to this performance an altogether outstanding sympathy and a close understanding of Schumann's essential warm-heartedness and naïveté, at the same time securing a cleanness of texture which is by no means common. He allows the music to be sentimental without becoming mawkish, and naif without being gauche.\u003cbr\u003e\u003cbr\u003eThe performance, as I have indicated, is a most satisfactory one. Coppola takes the fairylike finale at a very steady speed, producing a grazioso and slightly square effect totally different from that produced by Koussevitzky, who took it, I seem to remember (I speak without having the discs at hand) a good deal faster. At the same time, I do not agree with taking the coda of the scherzo so slowly: the tempo does not change to un poco più lento till 16 bars later. The balance of the orchestra is reasonably good, though the timpani are generally weak, and the cantabile tone of the first violins a little pallid. But it is a relief to hear a flute solo at the right level without it being boosted into the foreground. Once again, to my annoyance, Decca have managed to arrange these compulsorily auto-coupled sides so that the turn-over comes slap in the middle of the Larghetto.\u003cbr\u003e\u003cbr\u003eL. S., The Gramophone, June 1949, excerpt (link)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW - RICHARD STRAUSS Salome Orchestral Excerpts\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eI don't suppose we shall hear the Strauss-Wilde Salome again, but it is mighty clever, in its erotic way: and yet a curiously bugaboo way, that perhaps would pall now that we are thrilled every day or supposed to be. Yet there is no other music really like this, that tackles so horrible a subject with such earnestness and vim. We have to remember that it is nearly thirty years old. The scene on this disc is that in which John (Jochanaan, as he is here called) is brought before Salome, repulses her attempt to vamp him, and descends again into his cistern-cell. There are numerous motives, which are very clearly set forth in Mr. Lawrence Gilman's guide to the opera (John Lane). Two leading ones of the prophet are that on the horns, about 1 in. on side 1, and the one which Mr. Gilman calls \"Prophecy,\" which is best heard at the start of side 2. There is also Salome's theme of \"Ecstasy,\" as Mr. Gilman calls it—the descending first-quarter-chime theme. It is worth one's while to hear this beautifully recorded playing of music that some may find powerful and others ugly, though not in the cacophonic sense in which, alas, we have been \"larned\" to use it in these post-war years.\u003cbr\u003e\u003cbr\u003eThe Gramophone, June 1934, excerpt\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34139328397,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34139328461,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC335_f0c0e5fd-ac11-455c-9b42-5af2ba87c2df.jpg?v=1647338068"},{"product_id":"pasc335-cd","title":"COPPOLA conducts Schumann, Wagner \u0026 R. Strauss (1933-46) - PASC335 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478146701,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC335.jpg?v=1658308027"},{"product_id":"pasc347","title":"FURTWÄNGLER conducts Brahms Piano Concerto No 2, Schumann Piano Concerto (1942) - PASC347","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 2\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto in A minor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1942\u003cbr\u003eTotal duration: 77:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin Fischer\u003c\/b\u003e, piano (Brahms)\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e, piano (Schumann)\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFischer, Furtwängler and the Berlin Phil give a monumental and blazingly atmospheric performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eGiven their provenance these two recordings are pretty good. \n                  That said, don’t get your hopes too high. For all the \n                  miracles wrought by Andrew Rose and his XR method these remain \n                  grainy and roughened. On this evidence it comes as no surprise \n                  to hear that they survived Nazi wartime as vintage, live concert \n                  detritus, being spirited away to Moscow as war booty and decades \n                  of storage in the USSR. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Of the two works the Brahms emerges in meaty mono and with a \n                  string sound that is better than tolerable. Fischer, Furtwängler \n                  and the Berlin Phil give a monumental and blazingly atmospheric \n                  performance with not a little pointed wit in the exultant Allegretto. \n                  It could never rate as a chosen sole representative in anyone’s \n                  collection but it would make a nice contrast for those days \n                  when you would like a few risks and maybe a modicum of bluster. \n                  It’s certainly not dull. No doubt I will provoke sighs \n                  of despair but if you are looking for something to surprise \n                  and delight in your Brahms 2 then try Serkin on Sony-CBS if \n                  you can find it. A concert discovery last year was a pretty \n                  much ideal performance by Emanuel Ax at the BBC Proms with the \n                  Chamber Orchestra of Europe conducted by Bernard Haitink. Ax \n                  and his partners delivered a joyously life-enhancing reading \n                  of each of the two Brahms concertos. \u003cbr\u003e\n                    \u003cbr\u003e\n                  As for the Schumann it is a shade or two less desirable in comparison \n                  to the sound of the Brahms: the piano is a mite clattery, the \n                  treble hazed and the distortion crazing more obvious. The promethean \n                  power of the pianism, the clarion call to ardour and the complementary \n                  fire of the conductor and orchestra leave us grateful and ready \n                  to remember this performance with enough fondness to prompt \n                  a return visit despite the coughing. The liner-notes are rather \n                  scant but the short technical notes are well worth a read. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eRob Barnett \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC347.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these wartime recordings originated as radio \nbroadcasts and were among a number which disappeared into the Soviet \nUnion at the end of World War II. They suffer similar defects to the \nmajority of Furtwängler's wartime broadcasts, both in sound balance and \ndistortion during louder passages. My aim has been to minimise the \neffect of these and to try and round out the rather poor, \none-dimensional sound of the originals.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe better sound is to be found in the Brahms, which has\n greater top-end frequency extension, and is without doubt the star \nperformance here - it sounds remarkably well given its origins, with the\n full and rich orchestral sound coming across particularly well. A \nslight fuzziness in the piano's sound detracts little from a stunning \noverall effect.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Schumann concerto, Furtwängler's only surviving \nrecording of the piece, is perhaps less successful both as performance \nand recording, but is at least much cleaned up over previous issues.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Piano Concerto No 2, \u003cb\u003eSchumann\u003c\/b\u003e Piano Concerto (1942)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 2 in B flat, Op. 83\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegro appassionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegretto grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:15)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Piano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro affettuoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Intermezzo Andantino grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEdwin Fischer\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI LP SG 153-53661 M\u003cbr\u003eRecorded 8 November 1942, Alte Philharmonie, Berlin\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from DG LP 427 773-1\u003cbr\u003eRecorded 3 March 1942, Alte Philharmonie, Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:26\u003c\/b\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\/PASC347.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC347.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eOverview \u003cb\u003eFurtwängler's recordings of Brahms' 2nd Piano Concerto\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eFurtwängler conducted both Brahms piano concertos during all phases of his career, but there were nearly twice as many performances of the Second, the only one to have come down to us on records. There are two versions, both stemming from the war years and separated by thirteen months; each was given as part of a subscription concert by the Berlin Philharmonic. The soloist in the first was Edwin Fischer, and in the second, Adrian Aeschbacher, with whom Furtwängler collaborated on Beethoven's First Piano Concerto in Lucerne after the war.\u003cbr\u003e\u003cbr\u003eAs with their EMI studio recording of the Emperor Concerto, Furtwängler and Fischer are again as one. Theirs is a many-faceted account of a massive score, and like the music, the performance is symphonic and far-reaching in its dimensions. With this too there is \"youthful\" willingness on the part of Furtwängler and Fischer to give generously of themselves. The Second Concerto is a work that conductors and performers often even out, minimizing the sweep of the first and second movements so they are more in line with the reflective slow movement and the airy grace of the finale.\u003cbr\u003e\u003cbr\u003eNot so with Furtwängler and Fischer. They follow where the music leads and appear to revel in its many planes of sound and its contrasting emotions. With this comes the sensation of an autumn tempest eventually playing itself out and leaving in its wake coolness and serenity. In harmony with their stormy approach to the opening movement, the allegro appassionato, while not notably faster than the norm, has a livelier impulse than usual and less a feeling of binding weight. Not surprisingly, the second-movement repeat is observed in both performances, for this is an instance where a repeat in Brahms is entirely organic. Though Fischer's beautifully textured playing permeates the slow movement with a blissful, nocturnal calm, some urgency is still felt, and it emerges openly in playful, Friska-like passages in the finale.\u003cbr\u003e\u003cbr\u003eAeschbacher makes less of a cohesive whole out of the music. His performance is not as well thought-out, and there are moments where he strikes out on his own in a direction different from that established by Furtwängler and the orchestra. He is, on the whole, technically more solid than Fischer, though Fischer can surprise one at times with unexpected prowess, as in the rising double thirds that come early in the last movement. With Fischer, every note sounds in tempo, while Aeschbacher glibly leaves notes out. In short, there is no choice here. One is an experience; the other is a performance.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJohn Ardoin\u003c\/b\u003e The Furtwängler Record (Amadeus Press, 1994) \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":14167962517565,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":14167962550333,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":14167962615869,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC347.jpg?v=1745411222"},{"product_id":"pasc347-cd","title":"FURTWÄNGLER conducts Brahms Piano Concerto No 2, Schumann Piano Concerto (1942) - PASC347 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":14167963402301,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC347_cff315dc-5724-433d-87b1-eea8e97107db.jpg?v=1745411237"},{"product_id":"pasc228","title":"SCHILLINGS conducts Beethoven, Schumann and Weber (1928\/29) - PASC228","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eTwo Overtures\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred - excerpts\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6 'Pastoral'\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1928 and 1929\u003cbr\u003eTotal duration: 77:59\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eMax von Schillings\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe playing is of high quality, Schillings’s conducting natural and unforced578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is one of Pristine’s most enterprising \nreleases to date. Max von Schillings, better known as a composer in his \nday, was not a very prolific recording artist, and as a conductor has \nuntil now been remembered mainly (if at all) for his Wagner orchestral \nexcerpts, available on Preiser. Release of these early electricals \n(1928–29) restores to availability a very important document in the \nearly discography of Beethoven’s symphonies.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnyone coming to this release with expectations of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKapellmeister\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-ish\n efficiency (as I confess I did) will be agreeably surprised to \nencounter music-making of much vitality and considerable interpretive \nindividuality. The orchestra’s light sound—vibrato-free strings and lean\n winds—is very effective for the “Pastoral.” The playing is of high \nquality, Schillings’s conducting natural and unforced, flexible in pulse\n (especially in the first-movement development, “Scene by the Brook,” \nand “Shepherd’s Hymn”), but with fine forward momentum. His large-scale \nshaping is unerring, adding up to a very satisfying experience. (I’ll \nalso note, once again, that the tuba reinforcing the basses was quite \nunnecessary in 1929, four years into the electric era; in this instance,\n however, he really earned his money, frantically joining in the \n16th-notes in the “Storm”—hearing is believing!)  \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 early electrical versions, it\n is interesting to observe Schillings steering a middle course between \nhis compatriots Pfitzner (with the same orchestra, in the same year, on \nNaxos or Preiser) and Schalk (VPO, 1928\/Lys): Pfitzner is very slow, \nbucolic, less flexible in tempo and less well played, but memorably \nrustic in the “Scene by the Brook” (his 14:00 sounding slower than \nSchillings’s even more leisurely, but more flexibly varied, 14:38), and \nwith a very exciting “Storm” and deeply devotional “Shepherd’s Hymn.” \nSchalk, in contrast, is swift, buoyant, and elegant—almost a \nproto-period-instrument approach, with the 1920s VPO in incredibly \ncharacterful form. Weingartner (RPO, 1927\/Naxos) is brisk, objective, \nand comparatively uninflected (dispatching the “Scene by the Brook” in a\n no-nonsense 10:56!), with the London orchestra notably inferior to both\n Berlin and Vienna.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSchillings’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is dramatically conceived and well shaped, though with playing less \ndisciplined than in the symphony (less disciplined, in fact, than \nNikisch’s rivetingly dramatic acoustic version with the LSO in 1913! \n[Symposium]). Enjoyable, but not much real contest with other early \nelectrical classics from Mengelberg (NYPO, 1930\/Pearl or Naxos—superb \nélan, thrust, and elegance) and Furtwängler (BPO, 1933\/Koch or \nNaxos—darkly massive).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Weber overtures are a delight, ideally light and airborne. As for Schumann’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eManfred,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n this 1929 recording is by far the earliest known to me (does anyone \nknow of one earlier?). The performance is strikingly classical, swift, \nspirited, and transparent in texture (if not ideally refined)—not unlike\n Schuricht’s punchy 1946 version with the LSO (Lys, though in poor \nsound), and quite a contrast with the organ-like bronzed romantic \nsplendor of Abendroth (Leipzig Gewandhaus, 1944\/Tahra).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn’s transfers are well up to his \nusual standards. Altogether an important release, whetting the appetite \nfor Schillings’s remaining recordings, including an “Eroica,” \n“Unfinished,” and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Any chance, Pristine? \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 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC228.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe few CD reissues devoted to recordings of Max von Schillings which have appeared so far have concentrated on his justly-acclaimed Wagner performances, as well as those of his own compositions (Mona Lisa, Das Hexenlied). This release aims to broaden our appreciation of his abilities with a program of early Romantic repertoire.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers were American Columbia “Viva-Tonal” pressings for the Weber items; American “Okeh” Odeons (also pressed by American Columbia during their “Viva-Tonal” period) for the Schumann tracks; a pre-EMI laminated British Parlophone for the Egmont; and Italian Parlophon pressings (with a couple patches from a German Odeon set) for the Pastoral Symphony. Although the original engineering was not state-of-the-art for its time, the recordings from the 1928-29 season appear to have less overloading and blasting than the symphony, taken down the following season.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHILLINGS\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e, \u003cb\u003eSchumann\u003c\/b\u003e and \u003cb\u003eWeber\u003c\/b\u003e (1928\/29)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eEuryanthe - Overture (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Euryanthe — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8th October, 1928 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-20991 through 2-20993\u003cbr\u003eFirst issued on Parlophon P-9848 and 9849\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eAbu Hassan - Overture (3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Abu Hassan — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19th December, 1928 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 2-21137\u003cbr\u003eFirst issued on Parlophon P-9849\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred, Op. 115 - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchumann: Manfred — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred, Op. 115 - Alpenkuhreigen und Zwischenaktmusik* (3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchumann: Manfred — Alpenkuhreigen und Zwischenaktmusik\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTracks 3–4:\u003c\/b\u003e\u003cbr\u003eRecorded 3rd May and *10th May, 1929 in Berlin\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-21393 through 2-21395, and *2-21406\u003cbr\u003eFirst issued on Parlophon P-9484 and 9485\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont, Op. 84 - Overture (8:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBeethoven: Egmont — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14th December, 1928 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-21126 and 2-21127\u003cbr\u003eFirst issued on Parlophon P-9456\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F Major, Op. 68 (“Pastoral”) (42:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16th, 23rd and 30th September, 1929 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-21560 through 2-21566; 2-21572 and 2-21573; and 2-21586 through 2-21588\u003cbr\u003eFirst issued on Parlphon P-9463 through 9468\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003e Max von Schillings\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Max von Schillings\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:59\u003c\/b\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\/PASC228.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC228.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":34447705421,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34447705549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC228.jpg?v=1490028634"},{"product_id":"pasc228-cd","title":"SCHILLINGS conducts Beethoven, Schumann and Weber (1928\/29) - PASC228 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478203213,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC228_71261c45-09cb-4814-bfc3-4503c5542e89.jpg?v=1658244458"},{"product_id":"pasc133","title":"STOKOWSKI Schumann: Symphony No. 2, plus Vaughan Williams, Enescu, Walton (1949) - PASC133","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Fantasia on 'Greensleeves'\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eENESCU \u003c\/b\u003eRomanian Rhapsody No. 1\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eSpitfire Prelude and Fugue\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1949\u003cbr\u003eTotal duration: 55:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC133.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese recordings were sent to Pristine by Edward Johnson, one of the guiding lights of the Stokowski Society, musicologist and author of \"\u003cem\u003eStokowski\u003c\/em\u003e - Essays in Analysis of His Art\", taken from recordings held in his private collection, none of which have previously been issued.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn his letter to me, Johnson stated: \"\u003cem\u003e...the Walton is on this CD purely because it's Stokowski's only extant performance of any of Walton's music. But sonically it is dreadful and not release material. I only put it there for your interest...\u003c\/em\u003e\". Whether or not he intended this to be a subtle challenge I don't know, but I don't really think so. However, given the historic importance of the recording (Stokowski is known to have conducted very occasionally other works by Walton in the concert hall, but no recordings of these are thought to exist), I decided to take it on and see what could be achieved.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter making initial inroads on the sound, I sent a work-in-progress sample to Edward for his comments: \"\u003cem\u003eWow ... That's pretty amazing ! ... Like I said, it was recorded onto a primitive glass acetate disc, off the air, by someone called Charles (\"Jack\") Baumgarten who was later to become Stokowski's assistant during the Maestro's last years. This came from a tape copy he gave me. I guess he started the recording after the announcements had finished and and stopped it as soon as the applause began ... it's great that you can work on it as I'd never have thought it would be issuable material! ... The violin solo was most probably John Corigliano, who was I think concert-master at the time...\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter much further work I reached the point where I felt I'd done as much for it as possible - numerous bumps, holes, thumps and other extraneous noises were fixed, the sound further refined and evened out, and I was happy to add the recording to this collection. There remains a small degree of distortion towards the end of the piece, and some low-level surface crackle proved impervious to processing, but otherwise it's a fine example of a very spirited performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOf the other recordings, the Vaughan Williams was a fine studio effort - its US debut recording no less. The piece was too long for 78rpm playback and so three further takes were attempted of a version shortened by the conductor by excising sections of the music, the final take running to 4'04\" and given the matrix number XCO41010-1 for release. This first-take full-length recording was left in the vaults and only recently rediscovered.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Schumann that forms the heart of this set is, according to Edward Johnson \"\u003cem\u003ea much better performance than the one he recorded for RCA the following year with \"his Symphony Orchestra\" and the sound, while very good, could be made even better...\u003c\/em\u003e\". The sound quality of the Enescu was pretty much the same - both came from later rebroadcasts - and I'm glad to report Edward's response to my remastering efforts just prior to our release: \"\u003cem\u003eI downloaded the MP3 file and it sounds wonderful!\u003c\/em\u003e\"\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Symphony No. 2, plus \u003cb\u003eVaughan Williams\u003c\/b\u003e, \u003cb\u003eEnescu\u003c\/b\u003e, \u003cb\u003eWalton\u003c\/b\u003e (1949)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e: Fantasia on 'Greensleeves'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVAUGHAN WILLIAMS — Fantasia on 'Greensleeves'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e: Symphony No 2 in C, Op 61\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Sostenuto assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Scherzo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio espressivo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eENESCU\u003c\/b\u003e: Romanian Rhapsody No 1 in A, Op. 11\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eENESCU — Romanian Rhapsody No. 1 in A, Op. 11\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e: Spitfire Prelude and Fugue\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWALTON — Spitfire Prelude and Fugue\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eUnissued full-length studio recording, Columbia Studios 21st February, 1949 - a shortened version was prepared and issued on 78rpm disc from this recording session, the complete piece being too long for a single disc side.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eLive at Carnegie Hall, 6th February 1949, taken from a later radio rebroadcast of the original masters\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eLive at Carnegie Hall, 21st February 1949, taken from a later radio rebroadcast of the original masters\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eLive at Carnegie Hall, 6th February 1949, \"\u003ci\u003eRecorded by Charles \"Jack\" Baumgarten on a primitive glass acetate recording machine direct off the radio at the time of the original transmission\u003c\/i\u003e\"\u003cbr\u003e-\u003cb\u003e the only extant recording of Stokowski conducting Walton\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in New York in 1949\u003cbr\u003eAll previously unissued recordings from the collection of Edward Johnson\u003cbr\u003eRestoration and XR remastering by Andrew Rose, October-November 2008\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 55:26\u003c\/b\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\/PASC133.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC133.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":34671441741,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34671441805,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34671441869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34671441933,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC133.jpg?v=1490285605"},{"product_id":"pasc133-cd","title":"STOKOWSKI Schumann: Symphony No. 2, plus Vaughan Williams, Enescu, Walton (1949) - PASC133 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478284749,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC133_c791cdd1-4aea-477b-ae62-9fb0c31878c4.jpg?v=1658241862"},{"product_id":"pasc144","title":"KRIPS Schumann: Symphonies Nos 1 and 4 (1956\/57) - PASC144","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1956-57\u003cbr\u003eTotal duration: 56:24\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJosef Krips\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC144.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThis wonderful recording of these two Schumann symphonies is one you really should hear - Krips does a marvellous job of bringing them both truly alive; the London Symphony Orchestra plays superbly; the Decca sound engineers captures them brilliantly.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWe were able to use an excellent mint LP copy to make these transfers, allowing for a very light touch as far as remastering and restoration was concerned. The XR remastering process was able to add further definition and clarity to the orchestral sound, and as these were true stereo recordings, there has been no requirement for our Ambient Stereo process. Note here that in 1956 and 1957 Decca had two separate and simultaneous recordings operations going on, with seperate equipment and engineers for mono and stereo recordings.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen reviewing the original stereo issue for \u003cem\u003eThe Gramophone\u003c\/em\u003e, T.H. wrote:\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003e    This was always a coupling of favourite performances of mine and it is delightful to have them now in such good stereo. Krips plays Schumann with all the innate sympathy of a true Schumann lover. He often doesn't hurry himself, but by getting the lightest of playing he avoids ever getting stodgy. The opening of No. 4 did strike me again as slow (and that means that the slow movement itself will also have to be slow, of course, for some of the music is the same), but it is well phrased and I found I soon accepted it quite happily.\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe felicities of the performances are many and the Spring symphony, in particular, gets outstandingly happy playing. (Incidentally, Krips restores the opening call for horns and trumpets to the pitch at which Schumann originally wrote it—a third lower than printed in the scores.)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe stereo sound is notable for the clarity of its detail and altogether there is no possible doubt that Krips' Schumann is vastly preferable to the very unsympathetic conducting of Paray, the only stereo rival.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough the fourth symphony has seen CD reissue some 19 years ago, we can find no reissue of this recording of the first symphony during the CD era - the superb \u003ca href=\"http:\/\/lso.co.uk\/downloadables\/lumps\/upload\/472-35.pdf\"\u003eLSO discography\u003c\/a\u003e details its last commercial outing as a 1978 LP issue.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKRIPS\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Symphonies Nos 1 and 4 (1956\/57)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 \"Spring\" in B flat, Op. 38 (1841)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Andante un poco maestoso — Allegro molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (Molto Vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro animato e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:27)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 in D minor, Op. 120 (1841, rev. 1851)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Ziemlich langsam — Lebhaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Romanze (Ziemlich langsam)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (Lebhaft)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Langasm — Lebhaft\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJosef Krips\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eSymphony 1 recorded 23-4 May, 1957;\u003cbr\u003eSymphony 4 recorded 15 \u0026amp; 19 October 1956\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded at Kingsway Hall, London.\u003cbr\u003eMono release (Decca LXT5347) engineered by Kenneth Wilkinson\u003cbr\u003eThis Stereo release (Decca SXL2223) engineered by Ken Cress (Sym. 1) and Gordon Parry (Sym. 4)\u003cbr\u003eProducers: James Walker (Sym 1) and Christopher Whelan (Sym 4)\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, January 2009\u003cbr\u003eFinal restoration and mastering by Peter Harrison at disk2disc, January 2009\u003cbr\u003eCover artwork based on a photograph of Josef Krips\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 56:24\u003c\/b\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\/PASC144.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC144.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":34736194061,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34736194125,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34736194189,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC144.jpg?v=1490351953"},{"product_id":"pasc144-cd","title":"KRIPS Schumann: Symphonies Nos 1 and 4 (1956\/57) - PASC144 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478293645,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC144_b7f2b05f-9d5a-4b89-823c-04b066f9919c.jpg?v=1658242160"},{"product_id":"pasc149","title":"MEWTON-WOOD Schumann: Piano Concerto (1952) - PASC149","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded c.1952\u003cbr\u003eTotal duration: 31:54\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNoel Mewton-Wood\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNetherlands Philharmonic Orchestra\u003c\/b\u003e,\u003cbr\u003econducted by \u003cb\u003eWalter Goehr\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC149.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\n\u003cblockquote style=\"margin: 1em 0 1em 1.5em; padding: 0; border: 0; font-size: 16px; font-style: italic; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cb\u003eReview of this release:\u003c\/b\u003e \u003ca href=\"http:\/\/www.audaud.com\/article.php?ArticleID=5637\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording, which contrary to the indications on a previous reissue, we believe was probably recorded between 1951 and 1953, really is something special, both in the performance and the sound quality captured in the grooves of that early fifties ten-inch disc. My only difficulties with the restoration centred around a small scratch partway through side one, and a slight tendency to high frequency swish. As restorations go, neither presented major obstacles.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe analysis for re-equalisation at the heart of the XR remastering system showed a good and largely accurate frequency response in the original recording, though with something of a roll-off in the upper end which left an audible sonic veil over the proceedings. Lifting this brought new life and clarity to the sound of both piano and orchestra, whilst the addition of Ambient Stereo helps to really round out the overall audio picture.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI've not yet touched on the performance - this is surely one of Mewton-Wood's finest! In a review of a previous issue, Raymond Tuttle wrote: \u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003ci\u003e\"Noel Mewton-Wood ... turns out to be something of a cult figure ... his reading of the Schumann here is both exciting and majestic ... I could listen to this version of the Schumann Concerto any day and be happy ... Schumann's passionate and proud soul has been brought back intact by everyone involved!\"\u003c\/i\u003e\u003c\/p\u003e\u003ctable style=\"width: 100%; border-collapse: collapse;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"47%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"47%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"47%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"53%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"47%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\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 class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMEWTON-WOOD\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Piano Concerto (1952)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro affettuoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Intermezzo (andante grazioso)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eNoel Mewton-Wood\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNetherlands Philharmonic Orchestra\u003c\/b\u003e,\u003cbr\u003econducted by \u003cb\u003eWalter Goehr\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded c.1952, transferred from Guilde Internationale du Disque MMS-43\u003cbr\u003eDisc from the collection of Jean-François Lambert\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, January 2009\u003cbr\u003eCover artwork based on a photograph of Noel Mewton-Wood\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 31:54\u003c\/b\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\/PASC149.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC149.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":34738105869,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34738105933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34738106061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34738106125,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC149.jpg?v=1490354803"},{"product_id":"pasc149-cd","title":"MEWTON-WOOD Schumann: Piano Concerto (1952) - PASC149 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478297421,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC149_17fe5f16-c44e-4489-a537-bf587cc51a6b.jpg?v=1658242263"},{"product_id":"pasc004","title":"KULENKAMPFF Schumann: Violin Concerto (1937) - PASC004","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eViolin Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1937\u003cbr\u003eTotal duration: 27:24\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGeorg Kulenkampff\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003eConductor \u003cb\u003eHans Schmidt-Isserstedt\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC004.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis piece of music has a history almost as fascinating as the story of its recording - so much so that there's probably a book to be written about it. As briefly as I can then: \u003cb\u003eSchumann\u003c\/b\u003e wrote it for the famed violinist Joachim, who refused to play it. Upon the death of Schumann it was decreed that it should not be played for 100 years and the manuscript disappeared into the vaults of a German library and was largely forgotten. But not entirely. The rumours of its existence persisted, even to the extent of it being proclaimed in a seance. Then along came the Nazis, who wanted a good German violin concerto to replace the Mendelssohn which, thanks to his being a Jew, now no longer officially existed. Tearing up the 100 year rule they set about exhuming this concerto and putting together first a performance and then a recording. It became a race against Yehudi Menuhin, and a matter of German honour and pride, and thus the version heard here - partly edited by no less than Paul Hindemith - got there first (with a little help from a certain Herr Joseph Goebbels). \u003c\/p\u003e\n\u003cblockquote style=\"margin: 1em 0 1em 1.5em; padding: 0; border: 0; font-size: 16px; font-style: italic; text-align: left;\"\u003e\n\u003cdiv style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\"\u003cem\u003eThe Schumann broke my heart. The sound is a revelation...\"\u003c\/em\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003c\/blockquote\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNot only that but judging by the recording quality of this performance it seems the Nazis probably insisted in throwing all the German recording technology at their disposal at this work to make sure it was superior in every respect to anything which might follow it. We can't prove it, but just a year before this recording was made, German sound engineers demonstrated the first tape recording of an orchestra in London, and we strongly suspect that this was taped too. The sound quality is certainly far above that being achieved elsewhere in the world at the time, and German engineers had access to recording equipment which would not be seen elsewhere until 1945 and later.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis really is a superlative recording of its era of a most rare and wonderful concerto. I was once seated at dinner next to the second violin player of one of the world's most famous string quartets, and told him the story related above, to which he replied \"Schumann never wrote a violin concerto.\" Well he did - and that violinist now has a copy of this recording to prove it. Why not take a listen to the sample from the lavish second movement and see if you don't agree with one Pristine Audio website visitor, who wrote, having heard a similar excerpt: \"\u003cem\u003eThe Schumann broke my heart. The sound you are revealing is a revelation... I have now played the short excerpt about 30 times. Can I purchase a copy from you please?\u003c\/em\u003e\" - and so was born Pristine Audio Direct...\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eNB\u003c\/b\u003e. Since these notes were written, for the launch of this website in February 2005, the following has been made available at Wikipedia:\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSchumann - Violin Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRobert Schumann’s \u003cb\u003eViolin Concerto in D minor\u003c\/b\u003e was his only violin concerto and one of his last significant compositions, and one that remained unknown to all but a very small circle for more than 80 years after it was written.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eComposition \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSchumann wrote it in Düsseldorf between 11 September and 3 October 1853 for the violinist Joseph Joachim. He had just previously completed another work for Joachim, the \u003cem\u003eFantasie in C major\u003c\/em\u003e, Op. 131. On 1 October, the young Johannes Brahms entered the Schumanns’ life. It appears that Schumann composed the finale of the Concerto in three days: 1-3 October, after making Brahms’s acquaintance. Later in October, he collaborated with his new friend Brahms and his pupil Albert Dietrich in the 'F-A-E' Sonata for violin and piano, also written for Joachim.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSubsequent history and conflicting opinions\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThough Joachim performed Schumann’s \u003cem\u003eFantasie\u003c\/em\u003e, he never performed the Violin Concerto. After playing it through with piano accompaniment for Schumann in October 1853, he retained the manuscript for the rest of his life. After Schumann’s attempted suicide in February 1854 and subsequent decline and death in a sanatorium in Endenich, Joachim evidently suspected the Concerto was a product of Schumann’s madness and thought of the music as morbid. Joachim’s biographer Andreas Moser reproduced a letter in which Joachim discussed Schumann’s Concerto as showing ‘\u003cem\u003ea certain exhaustion, which attempts to wring out the last resources of spiritual energy\u003c\/em\u003e’, though ‘\u003cem\u003ecertain individual passages bear witness to the deep feelings of the creative artist\u003c\/em\u003e’.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJoachim’s opinion prevailed on the composer’s widow Clara and on Brahms, and the work was not published in the Complete Edition of Schumann’s works and was in effect kept secret throughout the 19th century. Brahms did however publish, in a supplementary volume of the Schumann Edition, ‘\u003cem\u003eSchumann’s last musical thought\u003c\/em\u003e’, a theme on which Schumann had begun to compose variations in early 1854. Schumann had thought the theme had been dictated to him by the spirits of Mendelssohn and Schubert, no longer recognizing that it was a melody he had used in the slow movement of the Violin Concerto. Brahms also wrote a set of piano-duet variations on this theme, his Opus 23.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSpirit voices\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJoachim deposited the manuscript of the concerto with the Prussian State Library in Berlin, and stated in his will (he died in 1907) that the work should be not played or published until 100 years after the composer's death, i.e. until 1953. However in March 1933, during a spiritualist séance in London attended by Joachim's two grand-nieces, the sister violinists Jelly d'Arányi and Adila Fachiri, a spirit-voice identifying himself as Robert Schumann requested Miss d'Aranyi to recover an unpublished work of his (of which she claimed to have no knowledge) and to perform it. In a second message, this time from the spirit of Joachim, they were directed to the Prussian State Library.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMenuhin's involvement\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eYet no more was heard for four years, until in 1937 Schott, the music-publisher in Mainz, sent a copy of the score to Yehudi Menuhin asking for an opinion. He played it through with Hephzibah Menuhin, and reported to the conductor Vladimir Golschmann in July 1937 that it was the historically missing link of the violin literature. Menuhin planned to deliver the world premiere at San Francisco, and announced it for 3 October, but was interrupted by the appearance of Jelly d'Aranyi, who claimed the right of first performance for herself on the basis of the spiritualist messages.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFirst performances and recording\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever all of this was to no avail, for the world copyright to the Concerto was held in Germany, and the German government insisted on the world premiere being given by a German. Georg Kulenkampff had worked on the score in some detail to render it playable, with Paul Hindemith (who, though his own works were now prohibited from performance in Germany, prepared the violin-piano reduction) and with George Schunemann, and it was Kulenkampff who gave the first performance, on 26 November 1937, with the Berlin Philharmonic Orchestra. Kulenkampff recorded it soon after the first performance. Menuhin gave the second performance, in the piano version, accompanied by Ferguson Webster, at the Carnegie Hall on 6 December 1937, and repeated this with the St Louis Symphony Orchestra under Golschmann on 23 December. Jelly d'Aranyi gave the first London performance, with the BBC Symphony Orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Concerto has only slowly made its way into the concert repertoire, partly due to the authority of Joachim’s judgement of it and a general critical perception that the first movement was too heavily scored; but it is now recognized as an important work of the composer. For a recording made in 1988 the German violinist Thomas Zehetmair went back to Schumann’s original manuscript, correcting many errors in the published edition.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Music\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Concerto is in the traditional three-movement form, fast-slow-fast. It belongs less to the poetic and passionate style of Schumann's early masterpieces than to the more objective, classical manner of his later music, as ushered in by the \u003cem\u003e'Rhenish'\u003c\/em\u003e Symphony of 1850. Certainly the opening movement in D minor is conceived more on symphonic than concertante lines. Its powerful opening subject dominates the proceedings, and although the violin’s role is extremely taxing, its subordination to a ‘symphonic’ scheme is emphasized by the fact that there is no cadenza. The slow movement, in B flat, has the character of an intensely lyrical intermezzo, and passes without a break into a vigorous and dance-like sonata-rondo finale in D major. An unusual feature of the movement is its strong polonaise rhythm.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDietrich's concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlbert Dietrich, who must certainly have seen Schumann’s Violin Concerto in the month of its completion, composed a Violin Concerto of his own in 1874, intended for Joachim, which is in the same key (D minor) and also has a finale in Polonaise rhythm. It is possible that it was influenced by his private knowledge of the unperformed work.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKULENKAMPFF\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Violin Concerto (1937)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eViolin Concerto in D minor (Op. post.)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFirst Movement In kräftigem, nicht zu schnellem Tempo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSecond Movement Langsam\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThird Movement Lebhaft, doch nicht schnell\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGeorg Kulenkampff\u003c\/b\u003e - violin\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003eConductor \u003cb\u003eHans Schmidt-Isserstedt\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20th December 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as 4 Telefunken 78s, E2395 - E2398\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 27:24\u003c\/b\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\/PASC004.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC004.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":36137963341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC004.jpg?v=1492503417"},{"product_id":"pasc004-cd","title":"KULENKAMPFF Schumann: Violin Concerto (1937) - PASC004 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205574050126,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC004_4f5b7dc3-3e36-4582-a73f-840acc9724c4.jpg?v=1657198456"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Schumann.jpg?v=1556198829","url":"https:\/\/www.pristineclassical.com\/collections\/composer-schumann.oembed?page=10","provider":"Pristine Classical","version":"1.0","type":"link"}