{"title":"Shostakovich","description":"Dmitri Dmitriyevich Shostakovich (Russian:  Дми́трий Дми́триевич Шостако́вич; 25 September [O.S. 12 September] 1906 – 9 August 1975) was a Russian pianist and composer of the Soviet period. He is regarded as one of the major composers of the 20th century.\u003cbr\u003e\u003cbr\u003eShostakovich achieved fame in the Soviet Union under the patronage of Soviet chief of staff Mikhail Tukhachevsky, but later had a complex and difficult relationship with the government. Nevertheless, he received accolades and state awards and served in the Supreme Soviet of the RSFSR (1947–1962) and the Supreme Soviet of the Soviet Union (from 1962 until his death).\u003cbr\u003e\u003cbr\u003eA polystylist, Shostakovich developed a hybrid voice, combining a variety of different musical techniques into his works. His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; the composer was also heavily influenced by the neo-classical style pioneered by Igor Stravinsky, and (especially in his symphonies) by the late Romanticism associated with Gustav Mahler.\u003cbr\u003e\u003cbr\u003eShostakovich's orchestral works include 15 symphonies and six concerti. His chamber output includes 15 string quartets, a piano quintet, two piano trios, and two pieces for string octet. His solo piano works include two sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include three operas, several song cycles, ballets, and a substantial quantity of film music; especially well known is The Second Waltz, Op. 99, music to the film The First Echelon (1955–1956), as well as the suites of music composed for The Gadfly.","products":[{"product_id":"pasc420","title":"KONDRASHIN Tchaikovsky \u0026 Shostakovich Concertos (1958\/60) - PASC420","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Piano Concerto No. 1\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Cello Concerto No. 1\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eStudio and live recordings · 1958 \u0026amp; 1960\u003cbr\u003eTotal duration: 62:35\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eKirill Kondrashin\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eVan Cliburn\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eRCA Victor Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA major reissue578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003ePristine\u003c\/strong\u003e has\n            now turned their attention to two important recordings by Kiril Kondrashin,\n            his collaboration with Van Cliburn in Tchaikovsky's\n        Concerto No. 1, and Mstislav Rostropovich in  Shostakovich's\n        Cello Concerto No. 1. The Tchaikovsky, recorded in Carnegie Hall March\n        30, 1958, is a landmark in the recording industry.  It was the first\n        classical\n        recording to sell more than a million copies and eventually sold more\n        than three million. And for good reason. The Texas-born pianist was a\n        legend for winning the 1958 First International Tchaikovsky Competition.\n        He insisted that Kondrashin, who had accompanied his performances in\n        Russia, conduct the recording. The Russian live performances are available\n        on video\": Rachmaninoff concertos 2 and 3 \n        and Beethoven\u003cem\u003e Emperor\u003c\/em\u003e, Brahms No. 2 and the Tchaikovsky.\n        \u003cstrong\u003ePristine\u003c\/strong\u003e's XR remastering has provided a richer audio\n        picture easily superior to the manifold previous issues of this major\n        recording. Rostropovich\n        gave the  American premiere of the Shostakovich Concerto No.\n        1 with Eugene Ormandy\n        and the Philadelphia Orchestra. and\n        recorded the work in November 1959, most recently reissues on \u003cstrong\u003eSony\u003c\/strong\u003e. \u003cstrong\u003ePristine\u003c\/strong\u003e offers\n        the cellist's second recording from a concert performance May 24, 1960\n        with the Czech Philharmonic\n        under Kondrashin. This has been reprocessed with effective \"ambient stereo.\"\n        A minute of applause is included.. A major reissue. \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC420.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Their Tchaikovsky ... has tremendous authority, and in this Kondrashin's accompaniments are a major asset.\" - Gramophone, 1999\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt is always fascinating to look back and see how a legendary \nrecording was first received, and leaving aside comments on performance \nfor this note, one can only agree with the criticism of the recording's \ntone, hence my decision to imrpove this as much as is possible using XR \nremastering. RCA's sound on their more recent issues is certainly an \nimprovement over the original LP but still left a lot to be \ndesired.Meanwhile the Shostakovich - which I originally discovered on a \nPeriod Showcase LP credited to a different orchestra -  was considerably\n worse. Both have improved greatly here.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhile the major artistic draws of this release are of course the two \nillustrious soloists, it was the common thread of conductor Kirill \nKondrashin which first drew me to these LPs in my collection, hence the \nfocus on him here. A great soloist needs a great accompanist conductor \nat his or her side if they are to work well together to produce a truly \ngreat concerto performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHere are indeed two great performances, with two great soloists - and one excellent conductor and master accompanist.\u003c\/p\u003e\n\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\u003eKONDRASHIN\u003c\/b\u003e \u003cb\u003eTchaikovsky\u003c\/b\u003e \u0026amp; \u003cb\u003eShostakovich\u003c\/b\u003e Concertos (1958\/60)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003ePiano Concerto No. 1 in B flat minor, Op. 23\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Andante non troppo e molto maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(20:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andantino semplice\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro con fuoco\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May, 1958\u003cbr\u003eCarnegie Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as RCA SB-2006\u003cbr\u003eA stereo recording\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVan Cliburn\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eRCA Victor Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eCello Concerto No. 1 in E flat major, Op. 107\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Cadenza — Attacca\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 May 1960\u003cbr\u003eSmetana Hall, Municipal House, Prague\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Period SHO ST 337\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMstlislav Rostropovich\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e(NB.Although billed as a stereo release on some issues, including the Period LP, the recording appears to be sourced from a mono Czech radio broadcast. The Period issue credits \"Moscow State Orchestra\" but offers no further details. We have taken the information presented here from a later Supraphon release.)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eKirill Kondrashin\u003c\/b\u003e - conductor\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\/PASC420.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC420.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":31975740237,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975740301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975740365,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC420_cccf12ea-5ff3-47e4-a934-dd51099b50b7.jpg?v=1487682308"},{"product_id":"pasc487","title":"MACKERRAS at the Edinburgh Festival: Shostakovich, Scriabin, Dvorák (1962) - PASC487","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003cb\u003eSCRIABIN \u003c\/b\u003ePiano Concerto\u003cbr\u003e\u003cb\u003eDVORÁK \u003c\/b\u003eSymphonic Variations\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive stereo concert recording, 1962\u003cbr\u003eTotal duration: 74:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePaul Badura-Skoda\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePolish Radio Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Mackerras\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA rewarding concert that fills some fascinating gaps in a great conductor’s discography578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRecorded by the BBC at the Edinburgh Festival on \nAugust 27, 1962, this concert by the Polish Radio Symphony was never \nbroadcast in Britain. Transcription discs were sent to various stations \nin the United States and were clearly marked “expires 3.9.66.” \nFortunately, one set “happily … fell into the hands of a collector” and \nthis disc is the result. What previous connection “the brilliant young \nconductor”—so described in the accompanying notes—Charles Mackerras had \nto the orchestra is something of a mystery, but it’s clear that this \nthen little-known Warsaw Pact ensemble clearly felt it had something to \nprove. And while Dvořák is a well-known commodity in the extensive and \nvaried Mackerras discography, Scriabin and Shostakovich are not.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performance of the Shostakovich Symphony which\n began the program is a fairly astonishing one, especially in the \nbracing tempos which occasionally veer into the lunatic range. The \nopening movement, for instance, races along at a ferocious clip, the \norchestra’s winds—the piccolo especially—displaying a prodigious \nvirtuosity. Apart from one brief episode when the massed strings seem \nready to fly off the handle, this is one of the most precise and \nexciting versions of the movement on record, a tribute to what was \nclearly one of best Iron Curtain orchestras of its time. The orchestra’s\n principal bassoon has an intensely felt moment in the symphony’s brief \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the eloquence of the playing allowing us to ignore the rather thin, \nreedy sound common to Eastern European bassoons of the day. The final, \nmadcap horse race to the end is electrifying in its daffy intensity, \nreminding us why Stalin was so angered by what was supposed to have been\n a triumphant victory symphony in praise of his contribution to the \nrecently concluded Great Patriot War. (Having virtually eliminated the \nRed Army’s senior officer corps during the Great Purge, his initial \nresponse to the news that Hitler had violated the Non-Aggression Pact in\n June of 1941 was to lock himself in his Kremlin apartment and get \ndrunk, leaving the Soviet Union leaderless for 10 crucial days.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf the Austrian pianist and \nMozart-Beethoven-Schubert specialist Paul Badura-Skoda might seem an \nunlikely champion of Alexander Scriabin’s youthful Piano Concerto, then \nhis ardent yet carefully worked out interpretation ranks with the finest\n recorded performances currently available; in fact, it’s only a notch \nor so below the stunning BIS recording (2088) with Yevgeny Sudbin, \nAndrew Litton, and the Bergen Philharmonic. The Polish Radio Symphony is\n as warmly supportive here as it was wild and unbuttoned in the \nShostakovich, with a string tone that feels especially lush and \nembracing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eApart from some occasionally tentative voicing in \nsome of the early variations—suggesting that rehearsal time may have \nbeen limited—Mackerras’s view of the Dvořák \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonic Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is altogether typical of his natural, idiomatic way with Czech music \n(he spent a year in Prague studying with Václav Talich and spoke \nserviceable Czech) coupled with the festival atmosphere that clearly \ninspired an already fired-up orchestra. It provides an especially \nsatisfying conclusion to a rewarding concert that fills some fascinating\n gaps in a great conductor’s discography. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJim Svejda  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC487.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough this stereo concert recording, complete with full \nannouncements, was made by the BBC at the Edinburgh Festival of 1962, it\n was never broadcast in the United Kingdom. Instead it would appear that\n it was one of a handful of recordings which were instead pressed onto \nvinyl and sent to radio station(s) in United States for broadcast there.\n It is not clear how many copies of each disc were made, nor to where \nthey were sent - or indeed how they were financed. What we do know is \nthat the three discs which made up this broadcast were clearly marked \n\"expires 3.9.66\" and probably should have been destroyed after use. \nHappily they fell instead into the hands of a collector who was able to \npreserve them for posterity and, finally now, release.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recordings were of course very well made, and have been \nvery well preserved, and my interventions as a result have been \nunusually minimal. This brings Charles Mackerras to Pristine for the \nfirst time, captured at a point in his stellar career when the BBC's \naccompanying notes could still describe him as \"the brilliant young \nconductor\".\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\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\u003eMACKERRAS\u003c\/b\u003e at the Edinburgh Festival: \u003cb\u003eShostakovich\u003c\/b\u003e, \u003cb\u003eScriabin\u003c\/b\u003e, \u003cb\u003eDvorák\u003c\/b\u003e (1962)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRadio Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 9\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Largo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:55)\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;\"\u003eRadio applause and announcements 1\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e Piano Concerto\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(7:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRadio applause and announcements 2\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e Piano Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e19 — Radio applause and closing announcement\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORÁK\u003c\/b\u003e Symphonic Variations\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTheme and Variations 1-4\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariations 5-9\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariations 10-13\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariations 14-17\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariations 18-21\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariations 22-24\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVariations 25-27\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Edinburgh\u003cbr\u003eLive stereo concert recording, 1962\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 74:47\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePaul Badura-Skoda\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePolish Radio Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Mackerras\u003c\/b\u003e, conductor\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\/PASC487.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC487.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFestival Concert Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eORCHESTRAL concerts at the festival continue to give us music which is \nvariable in substance and quality. The programme of the Polish Radio \nOrchestra's second concert contained the piano concerto in F sharp minor\n of Scriabin, an almost unheard of composer in most parts of the musical\n world nowadays. This is a young man’s composition dating from 1897; and\n a prize might be awarded to any critic who, discussing and describing \nit, is able to avoid mention of the name Chopin. The solo part is \nobviously derivative, and the orchestral scoring too. It was played to a\n not overcrowded audience by Paul Badura-Skoda, and played brilliantly. \nBut why couldn’t his gifted fingers have been occupied with notes of \nmore account? The concerto is pleasant enough, nostalgic with \nreminiscences, and an old faded aroma. It was, in fact, the original \n“Warsaw” Concerto.\u003cbr\u003e\u003cbr\u003eThe Polish orchestra at its second concert was\n conducted by none other than the young Australian Charles Mackerras, \nwho directed these expert instrumentalists through a smart-cracking \nperformance of Shostakovich’s Ninth Symphony. Though the playing here \nwas generally excellent, I could not recognise the full tone and \nprecision which impressed me so much at Saturday’s concert. Maybe Mr \nMackerras, for all his skill, had been unable at rehearsal to achieve \ncomplete communication of his ideas. None the less, the Polish orchestra\n maintained a standard of execution equal to Britain’s best. The \nwoodwind, especially, revelled in Shostakovich’s cock-a-hoop wit. I \nexpected, at the end of the performance, Mr Mackerras to indicate to \nthese virtuoso players to rise and share prominently the audience’s \napplause; but he did not, not obviously, at any rate.\u003cbr\u003e\u003cbr\u003eThe Ninth \nSymphony of Shostakovich is really one of symphonic music’s best jokes. \nApart from one strange, almost bodeful visitation, the work guys the \npomposity of the traditional symphony or rather the post-Beethoven. \n“Middle German” symphony. Possibly Mahler gave Shostakovich the \nirreverent cue; but Mahler was never as arrogantly and rampantly on the \nsymphonic “bummel”, so to say—on the spree—as Shostakovich in his short \nNinth Symphony. Mahler’s humour is usually wry, with a touch of the \ngrotesque in it. Shostakovich cracked his jokes with relish. The tunes \nare Till Eulenspiegelish. The trombone in the first movement has a \nmusical guffaw and yawp all to itself. The pace of the music, and its \n“spin,” suggests that Shostakovich, who is becoming an image of his \ncountry’s aloofness with rather inimical implications is at times the \nRossini of contemporary Russian music. Which is saying much.\u003cbr\u003e\u003cbr\u003eNeville Cardus The Guardian, 29 August, 1962 (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":"Stereo 24-bit FLAC","offer_id":38674043533,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":38674043597,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":38674043661,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC487.jpg?v=1496233720"},{"product_id":"pasc420-cd","title":"KONDRASHIN Tchaikovsky \u0026 Shostakovich Concertos (1958\/60) - PASC420 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC420.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976392397,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC420_f3d51bc5-894d-4307-9141-f5b3ef16d33b.jpg?v=1658742288"},{"product_id":"pasc487-cd","title":"MACKERRAS at the Edinburgh Festival: Shostakovich, Scriabin, Dvorák (1962) - PASC487 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976525837,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC487_35e3ea03-bcca-47b8-82dd-1b0317843db5.jpg?v=1658743858"},{"product_id":"pasc493-cd","title":"MARKEVICH at the Edinburgh Festival: Tchaikovsky, Shostakovich, Mussorgsky, Stravinsky (1962) - PASC493 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478069325,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC493_c7dc0499-cc1e-49da-a755-03b24b263f7c.jpg?v=1658744223"},{"product_id":"pasc493","title":"MARKEVICH at the Edinburgh Festival: Tchaikovsky, Shostakovich, Mussorgsky, Stravinsky (1962) - PASC493","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eFrancesca da Rimini*\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eLady Macbeth of Mtsensk - 2 Arias\u003cbr\u003e\u003cb\u003eMUSSORGSKY \u003c\/b\u003eSix Songs\u003cbr\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Rite of Spring\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive stereo concert recording, 1962\u003cbr\u003e*Download only - not on CD\u003cbr\u003eTotal duration: 91:42 (download); 67:42 (CD)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGalina Vishnevskaya\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIgor Markevitch\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC493.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is the second in our short series of radio transcription recordings made by the BBC at the Edinburgh Festival of 1962. These concerts were not broadcast at the time but appeared on transcription discs, most likely aimed at the US radio market, which should have been destroyed after use. The announcements here suggest two programmes were intended. The concert  recording runs to nearly 92 minutes and is available in full in our download and streaming formats. We have had to cut the opening item, Tchaikovsky's Francesca di Rimini for this CD release in order to fit a single disc. Those buying the CD do of course get a free copy of the MP3 download which includes the Tchaikovsky and additional announcements not present on this disc. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording itself is in fine BBC stereo. XR remastering has served to bring out a rather light bass, especially in the Stravinsky, conveying much more of the power and intensity of the performance.    \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\u003eMARKEVICH\u003c\/b\u003e at the Edinburgh Festival: \u003cb\u003eTchaikovsky\u003c\/b\u003e, \u003cb\u003eShostakovich\u003c\/b\u003e, \u003cb\u003eMussorgsky\u003c\/b\u003e, \u003cb\u003eStravinsky\u003c\/b\u003e (1962)\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;\"\u003eRadio Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Francesca da Rimini\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(22:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eTwo Arias from Lady Macbeth of Mtsensk\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI Could See From My Window\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI Know a Lake in the Forest\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMUSSORGSKY \u003c\/b\u003e(arr. Markevitch) Six Songs\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCradle Song\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe Magpie\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNight\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWhere art thou, little star?\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe Ragamuffin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOn The Dnieper\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGalina Vishnevskaya\u003c\/b\u003e soprano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Rite of Spring\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePart 1: Adoration of the Earth\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntroduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe Augurs of Spring - Dances of the Young Girls\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRitual of Abduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSpring Rounds\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRitual of the River Tribes\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eProcession of the Sage\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe Sage\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDance of the Earth\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePart 2: The Sacrifice\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntroduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMystic Circles of the Young Girls\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGlorification of the Chosen One\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;\"\u003eEvocation of the Ancestors\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRitual Action of the Ancestors\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSacrificial Dance\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra Igor Markevitch\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\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 Edinburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLive concert recording, Edinburgh Festival\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eUsher Hall, Edinburgh, August 26, 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded by BBC Transcription Services\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\/PASC493.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC493.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":32639612109,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32639612173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32639612237,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC493_836e1dae-8901-42dc-a6af-f3337b6d25ca.jpg?v=1487924495"},{"product_id":"pasc242","title":"STOKOWSKI Chicago Debut Concerts (1958) - PASC242","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eChorale Preludes\u003cbr\u003e\u003cb\u003eSZABELSKI \u003c\/b\u003eToccata\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003ePrelude in E flat minor\u003cbr\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eRomeo and Juliet Suite\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSwan Lake Suite\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eGLIERE \u003c\/b\u003eSymphony No. 3\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1958\u003cbr\u003eTotal duration: 2hr 38:00\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eUnfortunately, I was on Christmas vacation from \ncollege when Leopold Stokowski, at age 75, made his first appearance \nwith the Chicago Symphony Orchestra (he remarked that they must have \nbeen waiting for him to reach maturity). By the following week, I was \nback in town and did hear the Friday matinee concert on January 10. The \nconcerts must have been considered a success because Stokowski kept \nreturning in subsequent seasons and even made some studio recordings \nwith the orchestra. Sadly, only one season of the Fritz Reiner era was \ntaped, that of 1957–58, and it was done by a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew York \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eradio\n station (WBAI) that was operating on a very limited budget. WBAI’s \nengineer\/producer would fly to Chicago, tape the Thursday evening \nconcert, and then head back to New York the next day. I would guess that\n the concerts were broadcast on Saturday night in New York, but it’s \nbeen a long time. One night, Reiner, who must have been pleased that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esomeone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n broadcasting his concerts, offered WBAI’s man a lift back to his hotel.\n Not wanting to reveal what a low-budget enterprise he was involved in, \nthe WBAI producer asked Reiner to drop him at the posh Palmer House. He \nentered the lobby, waited about five minutes, and when the coast was \nclear, exited and headed for the local YMCA where he was actually \nstaying! Fortunately, the orchestra and now Pristine Audio have been \nable to use copies of the WBAI tapes to, at least, preserve one Reiner \nseason in respectable sound (the CSO also did regular TV appearances, \nbut those kinescope recordings are sonically compromised).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut back to Stokowski. No one’s Bach \ntranscriptions throb quite like Stokowski’s, especially if he was \nconducting them. These four are Stokowski standards and he and the \norchestra deliver the goods. They are effective even though they are a \nhalf-tone flat and, while I’m on the subject, the Shostakovich Prelude \nin E♭-Minor, orchestrated in a very Shostakovich-like way, plays back in\n D Minor. As far as I can tell, nothing else on either CD is below \npitch.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Polish composer Boleslaw Szabelski lived from \n1896 to 1979. After late-Romantic beginnings, he began to compose atonal\n music during the 1950s. He was a student of Karol Szymanowski and was a\n teacher of the late Henryk Górecki. The Toccata, a busy 1938 showpiece \nfor orchestra, predates his switch to atonality. Did Stokowski ever \nconduct it again?  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sheer warmth of the Prokofiev excerpts inspire\n wishes that he had recorded the complete score (but please, no cuts!). \nHe recorded some selections with the NBC Symphony Orchestra in 1954. \nUnfortunately, all he did was “Romeo and Juliet,” “Romeo at the Tomb of \nJuliet,” which are included here, and three others. He recorded excerpts\n from acts II and III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSwan Lake \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n “his” symphony orchestra, brilliantly played but somewhat streamlined \nprobably to squeeze as much music onto the LP as possible. As for the \nChicago performance, I wish I could hear the entire ballet performed \nwith such suppleness and warmth, and the playing is as good as you might\n imagine. For some reason, the Hungarian Dance is labeled “Danse Russe.”\n  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe two symphonies take up the second CD. With \nrespect to the Brahms, I haven’t heard Stokowski’s late-career recording\n with the National Philharmonic but I do have the early Philadelphia \nOrchestra version on hand. Aside from Chicago’s being a shade faster and\n little more “punctuated” for emphasis, the Chicago and Philadelphia \nperformances are similar. They are pretty much mainstream readings. As \nexpected, the Chicago taping is more detailed and has louder brass \nplaying. Compared with the Philadelphia recording, there’s little use of\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eportamento\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The CSO really digs into the last movement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSometime during the first season of Philadelphia’s\n Kimmel Center, I decided to test the acoustics of Verizon Hall, the \nPhiladelphia Orchestra’s new home. I thought that Glière’s “Ilya \nMurometz” Symphony would be a decent test piece and Neeme Järvi was \nscheduled to conduct it. I had already heard Stokowski conduct it twice,\n once in Chicago and once in New York, but for some people, including \nme, the “Ilya Murometz” is one of life’s guilty pleasures so I decided \nto take in a Friday matinee so I could return home after the concert. \nThe concert was to open with Thomas Zehetmeier playing Mozart’s Violin \nConcerto No. 4. As two o’clock approached, there was a lot if milling \naround on stage, with players coming and going and the audience getting \nrestless. Finally, after about 15 minutes, someone came out on stage and\n gave one of those “due to circumstances beyond our control” \nannouncements to the effect that the Mozart would not be performed and, \nsince the Glière symphony required a much larger orchestra, some of the \nplayers had not arrived yet. I assured a woman sitting next to me that, \nsince the uncut Glière Third is longer than some Bruckner and Mahler \nsymphonies, we would still come close to getting our money’s worth. \nFinally, all the players showed up and Neeme Järvi came on stage and led\n what I thought was a restrained performance of the symphony (he was \nrecovering from a heart attack), and I thought the sound of the hall too\n dry for my taste, if not as dry as that of the Academy of Music. At the\n time, the place was still a work in progress and I don’t know what it \nsounds like nowadays. As for Zehetmeier, he later explained that he \ndidn’t realize that the Friday concert was a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ematinee\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e until it was too late!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski said that, early in his Philadelphia \ncareer, he had the opportunity to discuss the symphony with Glière and \nthe composer (supposedly) agreed that his symphony could be performed \nwith certain cuts. He also met Glière when he visited the Soviet Union \nin 1931. In 1940 he recorded the symphony with the Philadelphia \nOrchestra. A complete, uncut “Ilya Murometz” runs between, say, 75 and \n78 minutes. Stokowski’s 1940 recording runs 46 minutes. It’s hard to \nbelieve that the cuts were all Glière’s idea. In later years, Stokowski \nfavored a more heavily cut edition that runs 38 minutes on his recording\n with the Houston Symphony Orchestra and about a minute longer on this \nChicago broadcast. One addition to the shorter edition is that, whereas \nthe Philadelphia recording fades out quietly, on the Houston and Chicago\n recordings, he uses Glière’s solemn, louder ending, which applies a \nmore decisive period to the piece. Each conductor who has cut the piece \nfor a recording has done his own cuts. In ascending order of \ncompleteness, the ones I’ve heard are the two later Stokowskis, the \nRachmilovich, Stokowski\/Philadelphia, Fricsay, the two Ormandys, Talmi, \nRakhlin, and the uncut ones of Botstein, Downes, Johanos, Scherchen, and\n Farberman—that last one, thanks to some sight-reading tempos, \nstretching out beyond 90 minutes; he conducts as if he relishes every \nnote in the score. Now there’s a spread: 38 minutes to 92 minutes! What \nyou won’t get on Stokowski’s Chicago performance are the high \nfrequencies; what you won’t get on the Houston performance is the sheer \nmassive power of the Chicago brasses and some interesting wind details. \nOn the Houston recording, you can hear Stokowski’s eccentric placement \nof the orchestra, with all the winds and brass on stage left and the \nviolins, violas, and cellos taking up most of what space remains, with \nthe basses lining the back of the stage. You won’t hear that on the CSO \nperformance, which is a mono recording. Both, like his 1940 effort in \nPhiladelphia, are animated, intense performances. I suppose an uncut \nStokowski “Ilya Murometz” was too much to hope for.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eObviously, this pair of CDs preserves two \nimportant concerts in the CSO’s history—the first guest appearances by \none of the 20th century’s most import maestros. Stokowski recorded most \nof this music earlier and\/or later, but there seems to have been good \nchemistry between him and the CSO—several of the players were alumni of \nhis All-American Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eLeopold Stokowski had for several decades been one of the world's most well-known and respected conductors when, on 2nd January 1958, he stepped onto the podium at Chicago's Orchestra Hall to conduct the Chicago Symphony Orchestra for the first time as its guest conductor. Between 1958 and 1968 he was to appear with the orchestra in six seasons of concerts; this release brings out for the first time what has been preserved from his debut concerts at the beginning of 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recordings presented here are not, it would appear, actual live broadcasts from Chicago, but were taken from rebroadcasts shortly later from a New York radio station - despite the announcer's assertions that they are live in Orchestra Hall, these were probably voice-overs from the New York radio studio. The rebroadcasts omitted music by Wagner which had formed the bulk of the second part of the first concert, following the \u003cem\u003eToccata\u003c\/em\u003e of the little-known Polish composer, Boleslaw Szabelski.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first half of that opening concert (which was repeated on 3rd January) consisted of traditional fare - Stokowski's orchestrations of Bach's \u003cem\u003eChorale Preludes\u003c\/em\u003e and the Brahms symphony. The second programme, again repeated over two concerts, was an all-Russian affair, beginning with the Shostakovich and Glière and continuing after the interval with the Prokofiev and Tchaikovsky suites.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs usual, the orchestra and audience got full value for money from Stokowski. In addition to his own orchestrations of the Bach, he was also responsible for the orchestration of Shostakovich's \u003cem\u003ePrelude in E flat minor\u003c\/em\u003e very shortly after its composition. The composer himself later orchestrated the piece for a 1944 film entitled \u003cem\u003eZoya\u003c\/em\u003e, a name which has stuck to a degree to the prelude - however it is, of course, the conductor's orchestration we hear in this concert.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe selections from Prokofiev's \u003cem\u003eRomeo and Juliet\u003c\/em\u003e are somewhat skirted over by the announcer, as in fact they derive not from a single suite but from both the first and second suites. Meanwhile Stokowski has again gone his own way with his \u003cem\u003eSwan Lake Suite\u003c\/em\u003e, which does not correspond to the published suite. Indeed it took a certain amount of musical detective work to identify precisely which parts of Tchaikovsky's music had been used for some of the sections presented here.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFinally, it has been suggested that without Stokowski's efforts, Glière's mighty \u003cem\u003e3rd Symphony\u003c\/em\u003e may well have been entirely forgotten. The full work runs to a sprawling 75 minutes or longer - by skilful editing, Stokowski reduced it to something more manageable and digestible and was thus able to programme it on several occasions and thus keep it alive.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTechnically the sound quality of the recordings here is generally quite good to excellent, although there are some uneven areas. I have had to play with the running orders in order to fit all of the surviving material onto two discs, and have corrected an error by the announcer, who mistakenly introduced Prokofiev's \u003cem\u003eRomeo and Juliet \u003c\/em\u003eas Tchaikovsky's \u003cem\u003eSwan Lake\u003c\/em\u003e - he himself had corrected this in the back-announcement to the piece. \u003c\/p\u003e\n\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\u003eSTOKOWSKI\u003c\/b\u003e Chicago Debut Concerts (1958)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Chorale Preludes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNun komm, der Heiden Heiland, BWV 599\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eKomm, susser Tod, BWV 478\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;\"\u003eMein Jesu! was vor Seelenweh, BWV 487\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWir glauben all' an einen Gott, BWV 437\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBoleslaw SZABELSKI Toccata (1938)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:15)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Prelude in E flat minor, 'Zoya', Op. 34, No. 14 (orch. Stokowski)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eRomeo and Juliet Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSuite No. 1, Op. 64bis: VI. Romeo and Juliet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSuite No. 2, Op. 64ter: VI. Dance of the Antilles Girls\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSuite No. 2, Op. 64ter: VII. Romeo at the Grave of Juliet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSwan Lake Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Act 1 Introduction - Moderato assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Act 1 No. 5 - Pas de deux\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Act 2, No. 10 - Scène\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Act 2, No. 13 - Danse des Cygnes\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Act 3, No 20a - Danse Russe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Act 3 No. 21 - Danse Espagnole\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Act 4, No. 27 - Danse des petits cygnes\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Act 4, No. 29 - Finale\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Adagio non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegretto grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Allegro con spirito\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLIERE \u003c\/b\u003eSymphony No. 3 In B minor, Op. 42, “Il'ya Muromets”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Wandering Pilgrims. Il'ya Muromets and Svyatogar\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Solovey the Brigand\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e With Vladimir Fair Sun\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Prowess and Petrifaction of Il'ya Muromets\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLive concert recordings from Orchestra Hall, Chicago:\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2 \u003cb\u003end January 1958\u003c\/b\u003e - Bach,Brahms, Szabelski\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9 \u003cb\u003eth January 1958\u003c\/b\u003e - Shostakovich, Glière, Prokofiev, Tchaikovsky\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransfers from the collections of Edward Johnson and John Kelly\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, August-September 2010\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 38:00\u003c\/b\u003e\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\/PASC242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC242.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":34501595469,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34501595533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34501595597,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34501595661,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC242_f068f585-1165-4c6a-9c87-a6b244a64c69.jpg?v=1490096441"},{"product_id":"pasc242-cd","title":"STOKOWSKI Chicago Debut Concerts (1958) - PASC242 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54910721065294,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478219341,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC242.jpg?v=1759331769"},{"product_id":"pasc264","title":"STOKOWSKI'S Return to Philadelphia (1960) - PASC264","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eMarriage of Figaro - Overture\u003cbr\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl Amor Brujo\u003cbr\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eThe Pines of Rome\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1960\u003cbr\u003eTotal duration: 1hr 50:05\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eShirley Verrett-Carter\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStokowski’s special magic with the massed strings makes for a level of intensity that’s hard to match578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere was excitement in Philadelphia in January \n1959 when it was announced that Leopold Stokowski would be returning to \ntown the following year to appear with the orchestra that he had last \nled in 1940. In an interview, he described himself as “very pleased,” \nadding, “but it took a long time, didn’t it?” Eager patrons had to wait \nuntil February 12, 1960, for the big night. Needless to say, the Academy\n of Music was packed and enthusiastic. Those who were unlucky enough not\n to have tickets had to content themselves with the radio broadcast. I \nhave read that some subscribers were offered $50 for their tickets \n(that’s more than $360 in 2011 dollars). Many in attendance remembered \nhim from his long tenure with the orchestra. Not taking any chances, the\n maestro had chosen a program of virtually conductor-proof pieces. The \nresults were predictable and the recording serves as evidence. Except \nfor the Mozart overture, he had already made excellent recordings of \nthese works. The only thing on this concert that he went on to record \nagain was the Falla, with a young mezzo who was then billed as “Shirley \nVerrett-Carter.” He had hoped to record in the scene of his former \ntriumphs, the venerable Academy of Music, but was disappointed to \ndiscover that the sound had dried up quite a bit since his days there. \nHis assistant, Jack Baumgarten, told me that Stokowski was inclined to \nblame the installation of an organ during the 1940s for what he \nconsidered the deterioration of the hall’s sound.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDuring his radio remarks that preceded the \nconcert, the orchestra’s assistant conductor, William R. Smith, \nmentioned that Stokowski was using his radical reseating of the players,\n with most of the strings on stage right and center, basses lining the \nback wall, and winds, brass, and percussion at stage left. I find this \nknowledge quite vexing because, even with headphones, I cannot perceive a\n clear, obvious placement of the instruments. There is some but, really,\n very little directionality—yes, the violins seem to be to my left and a\n few brass instruments and some percussion seem to be emerging from my \nright speaker, but the winds seem to wander; I can easily imagine most \nof them seated in their customary spots in the center. If this is a \nstereo recording, as Pristine claims, it has about the narrowest spread \nof any stereo recording I’ve ever heard; it sounds almost like some sort\n of “enhanced” mono to me. That is not to say that it sounds bad; it’s \nquite powerful and vivid, and the combination of this conductor and this\n music, not surprisingly, turns out to be a surefire winner. It has been\n said that the orchestra played as if he had never left, easily shifting\n into its Stokowskian mode despite the passing of 19 years and the \npresence of new players (there were 36 Stokowski alumni remaining plus a\n few former members of his All-American Orchestra). I should point out \nthat Ormandy had his own sound, as Stokowski had his; they were not peas\n from the same pod. Interestingly, when Stokowski and Verrett made their\n studio recording of the Falla shortly thereafter, probably in the \nballroom of the Broadwood Hotel, the orchestra, perhaps at the \nproducer’s urging, was seated more conventionally, with violins on the \nlistener’s left and violas and cellos on the right.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow can I possibly describe these performances? How can a conductor possibly ruin \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Marriage of Figaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture?\n Stokowski certainly doesn’t, but Mozart doesn’t give him the \nopportunities that later composers did. The Falla, though intensely \nimpassioned and ravishingly played, is, I think, even narrowly surpassed\n by the studio recording, which is my absolute favorite \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl amor brujo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Verrett is nearly perfect: The voice is appropriately dark without \nbeing inappropriately heavy and she doesn’t knock herself out trying to \nsound gutsy. And listen to that juicy string playing! The performance of\n Respighi’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Pines of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is one very good one among many, not unlike his Symphony of the Air \nrecording. Stokowski’s association with Shostakovich’s music goes back \nto the 1920s and he made outstanding recordings of the First Symphony \n(twice), the Fifth (twice), Sixth (twice), and 11th, not all of them \nwith the Philadelphia Orchestra (I regret that he never got around to \nNos. 8 and 9). There was also a privately issued one of the 10th by the \nChicago Symphony Orchestra, also outstanding. This particular \nperformance uses conventional tempos but Stokowski’s special magic with \nthe massed strings makes for a level of intensity that’s hard to match, \nalthough I will concede that this symphony, like \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Pines\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n has done well on recordings. Many highly anticipated “special \noccasions” don’t turn out to be particularly special, but this one \napparently did and may have even caused some Philadelphians to subscribe\n to a whole series just so they could be there. There were probably few \nregrets about that. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC264.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWe are very privileged to have access to the two tapes \nprepared for Stokowski by the original station that broadcast the \nconcert, WFLN-FM in Philadelphia, which passed on the conductor's death \nfirst to his assistant Jack Baumgarten, and then on to Edward Johnson at\n the Stokowski Society.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt would appear both that these are direct copies of the\n actual broadcast tapes (which would have been played out a few days \nafter the concert itself, with commentary added after the concert), and \nthat the stereo broadcast has never been heard properly. The commentary \nhere was recorded in standard stereo, but the entire concert was encoded\n in Mid-Side (MS) stereo, a format used mainly for broadcast purposes \nand not designed to be replayed without considerable technical \nintervention to recreate a proper stereo image. Prior to this \ncorrection, one would hear the M (or mono) signal from the left speaker \nand the difference (the S or side component which contains the stereo \nspacial information) from the right speaker, creating a very bizarre and\n confusing soundstage. I have corrected this and inserted small fades \nbetween radio commentary and music to cover the abrupt cut edits of the \noriginal.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSoncially the recording is otherwise very similar to the\n original tapes, with very minor adjustments to equalisation and a \ndegree of convolution reverb added (reverb was required for previous \nPhiladelphia issues by Baumgarten) to ameliorate a very dry acoustic \ncaused by close miking, probably in order to get a good stereo spread \nwith the Academy's narrow proscenium and cut down on audience noise. A \nvery small amount of pitch flutter is occasionally apparent towards the \nend of the first half, but otherwise sound quality is excellent.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the process of researching this release, I learned \nthe following from Mark Obert-Thorn, who is based close to the city of \nPhiladelphia:\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n  \u003ci\u003e  The original station that broadcast the concert was WFLN-FM in Philadelphia (now changed to a rock station with different call letters).  The engineering was supervised by Albert L. Borkow, Jr., whose company, Magnetic Recorder and Reproducer, produced the broadcasts. \u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe PO only started broadcasting in stereo beginning with the concerts of January, 1960, so Stokowski chose a good time to come back.  This was only the seventh concert to be recorded by this team.  Prior to this, CBS had broadcast concerts sporadically through the 1950s.  The WFLN series lasted with few interruptions weekly into the 1980s.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThere are oddities to these early stereo concerts.  Magnetic's mixing boards were primitive, so when the outros had to be recorded over the applause at the end of a work, the applause was re-recorded and mono-ed out on one track (often at a much lower volume level) and the announcements added to the other track.  Also, pauses between movements were often not shortened for broadcast.  (I have a WFLN tape of Silvestri conducting Tchaikovsky's Manfred Symphony where there is about a two-minute long stretch of audience noise after the first movement!)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs Mark points out, there were some very long sections \nof applause in the original broadcast. These have been edited down to \nsomething more appropriate. I have retained all the announcements, which\n are mainly provided by the Philadelphia Orchestra's then assistant \nconductor, William Smith. The broadcast concluded with a short speech by\n Stokowski, made facing his audience at the end of the concert, and this\n too has been retained.\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\u003eSTOKOWSKI'S\u003c\/b\u003e Return to Philadelphia (1960)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRadio Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Marriage of Figaro - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMozart: The Marriage of Figaro — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRadio link to De Falla\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDE FALLA\u003c\/b\u003e El Amor Brujo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDE FALLA El Amor Brujo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(25:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRadio link to Respighi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e The Pines of Rome\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRespighi: The Pines of Rome\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:18)\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;\"\u003eClosing link to Part One\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRadio introduction to Shostakovich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Largo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eApplause and back-announcement\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eStokowski post-concert speech to audience\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eShirley Verrett-Carter\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, December 2010\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1 hr 50:05\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\/PASC264.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC264.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":37272148429,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":37272148493,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":59447267950926,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC264_be5dae1b-8dce-4d6e-82a3-20215063fc23.jpg?v=1776342231"},{"product_id":"pasc264-cd","title":"STOKOWSKI'S Return to Philadelphia (1960) - 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You might expect these recordings to exhibit some indication of nervousness or immaturity but no, they're assured, finely-nuanced performances, and all from first takes.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMewton-Wood went on later that year to commence a number of solo recordings, also for Decca - clearly he'd impressed them sufficiently in the studio with Haendel. A note about the dates here - we initially checked with the British Library, whose database gives a 1940 recording date for the Albéniz, and it was this which determined the running order for this release. However, further research indicates that the recording date was actually a little later, as shown above. It should be noted that we also found another source suggesting 1942 for the same recording, though this seems unlikely.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMewton-Wood's final recording is a scorcher - by this stage the now 30-year-old pianist had made a number of major recordings with Goehr and an assortment of European orchestras operating under a variety of names, but in many cases assembled for recordings such as these from various radio orchestras and the like. Harry Sevenstern, the trumpet soloist on this recording, was a regular in recordings credited to the 'Netherlands Philharmonic Orchestra', a recording outfit made up of players from several Dutch radio orchestras. Regular recording venues for this orchestra were primarily the Hersteld Apostolische Kerk, a church building at the Johannes Geradtsweg in Hilversum, or if this was not available, the recording sessions took place in the Tesselschadekerk.\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMEWTON-WOOD\u003c\/b\u003e First and Last Recordings: \u003cb\u003eAlbéniz\u003c\/b\u003e, \u003cb\u003eBeethoven\u003c\/b\u003e, \u003cb\u003eShostakovich\u003c\/b\u003e (1941\/53)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBENIZ\u003c\/b\u003e: España, Op. 165, No. 3: Malagueña (arr. Kreisler)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eALBENIZ – España, Op. 165, No. 3 — Malagueña (arr. Kreisler)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e[Ida Haendel (violin), Noel Mewton-Wood (piano)]\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eRecorded 2nd April 1941, Decca Studios, London. Decca 78: K.1073\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e: Violin Sonata No. 8 in G, Op.30, No.3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN – Tempo di minuetto, ma molto moderato e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eRecorded 18th February 1941, Decca Studios, London. Decca 78s: K.959-960\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eIda Haendel, violin\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIda Haendel (violin), Noel Mewton-Wood (piano)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e: Concerto for Piano, Trumpet and Strings in C minor, Op.35\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Lento\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:46)\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(6:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eRecorded 1953. Concert Hall Society LP: H.4\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eHarry Sevenstern\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e, trumpet, \u003c\/i\u003e\u003cb\u003e\u003ci\u003eConcert Hall Society Symphony Orchestra, cond. Walter Goehr.\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNoel Mewton-Wood\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eIda Haendel, violin\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e.\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNoel Mewton-Wood\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio, December 2008\u003cbr\u003eCover artwork based on a photograph of Noel Mewton-Wood\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 39:29\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\/PASC135.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC135.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":37907405197,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37907405389,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37907405581,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37907405773,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC135_18716465-d024-4e26-a5c6-a6479a89b301.jpg?v=1495200509"},{"product_id":"pasc135-cd","title":"MEWTON-WOOD First and Last Recordings: Albéniz, Beethoven, Shostakovich (1941\/53) - PASC135 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478286477,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC135_1eab9d9d-55ef-446b-8908-051b76c5ecd2.jpg?v=1658241903"},{"product_id":"pasc527","title":"STOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 7 'Leningrad'\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recording, 1942\u003cbr\u003eTotal duration: 79:34\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC527.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis remarkable historic document demonstrates just how good a recording it was possible to make as long ago as 1942. It must surely rate as one of, if not the best sounding recordings I have ever encountered from that era. Things would improve dramatically in the years immediately after the end of the Second World War, but it is unusual to find such fidelity during the war years, especially outside Germany.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe source for this recording was a set of acetate discs apparently prepared for South American broadcasters which, by the sound of them, were never actually played. Comparisons to other sources, such as those used for a previous issue of this concert, indicate just how quickly and badly these delicate discs deteriorated with use. Indeed the bonus track on this release gives the listener some indication of the difference - taken from the English language acetates we hear the familiar indicators of wear and tear even after extensive declicking and cleaning up in the extended commentary that preceded the NBC broadcast .\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy contrast the mint acetates which provide the musical content offer a fidelity one might normally expect from a good late-1950s mono vinyl pressing. For the most part they provided me with a very straightforward task, with XR remastering bringing out the full tonal range of the orchestra, with very low surface noise and an exceptionally full frequency range for an early 1940s recording. As is common with disc recordings there was some gradual loss of treble towards the end of each side, and side changes were pretty brutally chopped, with no overlap to allow for cross-fading. But this aside, the only other challenge was the missing first note! This was ultimately patched in from another \"digitally aged\" recording of more recent vintage, as my other sources of the Stokowski performance were of such lower sonic quality. The result is a seamless patch and and entirely convincing opening.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt is a shame, but entirely understandable, that we have no 1942 photo of Stokowski and Shostakovich together. As our sleevenotes detail, it's amazing that Stokowski (and a number of other major US-based conductors) were even able to get their hands on a copy of the score. I am very grateful though to Edward Johnson for digging out and sending me the 1958 photograph of composer and conductor which grace the cover of this release. Stokowski was a great champion of the Soviet composer's work. Now at last we have his only recording of the \"Leningrad\" Symphony in sound which truly does justice both to the work and to the performance.\u003c\/p\u003e\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 style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 7 in C, Op. 60 \"Leningrad\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (28:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Moderato (poco allegretto)\u003cspan style=\"font-size: 12px;\"\u003e (10:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (17:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (15:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Bonus track: Radio Introductory Commentary\u003cspan style=\"font-size: 12px;\"\u003e (6:41)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski \u003c\/b\u003eand \u003cb\u003eShostakovich\u003c\/b\u003e, taken in 1958\u003cbr\u003eLive concert broadcast, 13 December 1942\u003cbr\u003eCarnegie Hall, New York City\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:34\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\/PASC527.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC527.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5fFew symphonies have ever had such a dramatic impact on American musical life as Shostakovich’s 7th.  Already well-known internationally as a composer of the first rank, Shostakovich could reasonably have expected his new symphony to gain a wide airing, but the storm of media and public interest was unprecedented. First there was the wartime setting, with much of the music being composed in besieged Leningrad in 1941. Then there was the tortuous process of getting a copy of the score to the USA which involved a microfilm being flown from Moscow to Tehran,  then driven overland to Cairo, and then again transported by plane to the USA. All of these dramas were relayed to public via newspaper and radio reports that helped to fire the public’s imagination.\u003cbr\u003e\u003cbr\u003eThe man responsible for getting the score to America was Leopold Stokowski, newly installed as the joint director of the NBC symphony together with Toscanini. He persuaded NBC to purchase the rights to the US première, and had a not unreasonable expectation that he would conduct the broadcast première, having premièred several other Shostakovich symphonies with the Philadelphia Orchestra. NBC, however, was urged by Toscanini to have the work performed by him, and despite Stokowski’s pleas to his illustrious colleague, it was Toscanini who conducted the première on 19 July 1942.\u003cbr\u003e\u003cbr\u003eThe critics didn’t particularly like the new symphony, thinking it lacked the creative power of the 5th.  Olin Downes, writing in the New York Times, thought it was  ‘far from a work of sustained greatness.’ Audiences, on the other hand, loved it, with performances being received with sustained applause and even cheering. Part of the appeal of the symphony was that that it depicted the suffering of war (in the first movement especially) but also the ultimate victory of the allies. The long first movement, with its repeated battle theme that starts pianissimo and grows slowly to the loudest of fortes before fading away, readily grabs the imagination. As Life magazine noted ‘it is almost unpatriotic not to like Dimitri Shostakovich’s seventh symphony’ and during the second half of 1942 the world’s attention came to be concentrated on a vital sector of the Russian front. The Battle of Stalingrad, even at the time, was perceived as one of the pivotal moments of the war: a victory for Germany could mean the end of the Soviet Union, and quite possibly an end to the European war, while a Soviet victory would mark a fundamental shift in the tide of the war in the east. Performing or attending this symphony thus became an act that showed support for the allied cause, and especially embattled Russians.\u003cbr\u003e\u003cbr\u003eFollowing the American première in July the symphony was performed by the Boston Symphony under Serge Koussevitzky in Boston and later in New York; by Toscanini again but this time with the New York Philharmonic; by Artur Rodziński in Cleveland and New York; by Frederick Stock in Chicago; by Eugene Ormandy in Philadelphia; by Hans Kindler in Washington D.C.; and by Stokowski in Los Angeles and San Francisco. By the time Stokowski performed the work in December with the NBC symphony New York audiences had been able to compare the interpretations of no less than five different conductors.\u003cbr\u003e\u003cbr\u003eThere was some discussion in the press about the correct tempi for the symphony. Toscanini’s première had come in at about 73 minutes, but when he returned to the work in October with the New York Philharmonic he had trimmed it to 69 minutes. Olin Downes much preferred the faster pace, thinking it added a fresh urgency to the symphony. When Koussevitzky opted for the more moderate tempo, after consulting with the composer, Downes thought that ‘Shostakovich’s metronome doesn’t work as a good, brisk, lively American metronome does, hence misleading tempo marks in the score.’\u003cbr\u003e\u003cbr\u003eStokowski’s performance, as we can hear, tended to be more like Toscanini’s first take, and was a triumph according to one reviewer: ‘The rich colors, the many passages for singing string choirs, the surging pulse of the music, the enormous climaxes all seemed made for Mr Stokowski’s particular genius and he made the most of them. The performance was gorgeous.’ This broadcast preserves the interpretation of a conductor who had a particular affinity with Shostakovich’s music. Stokowski recorded several of Shostakovich’s symphonies commercially and continued to programme his works for the concert hall for the rest of his career. This broadcast, however, is the only recording of Stokowski conducting the 7th symphony. \u003cbr\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":7017460072509,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205547999566,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205548032334,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC527.jpg?v=1520942669"},{"product_id":"pasc527-cd","title":"STOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC527.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205547966798,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC527_f4e2036f-b1b9-4602-aac8-136e39ce8dd5.jpg?v=1658745252"},{"product_id":"pasc548","title":"TOSCANINI conducts Contemporary Russian Music (1939-47) - PASC548","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 1, 'Classical'\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eKABALEVSKY \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eKABALEVSKY \u003c\/b\u003eOverture to Colas Breugnon\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1939-47\u003cbr\u003eTotal duration: 74:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe NBC Symphony’s cracking playing make the best possible case for Kabalevsky’s gloriously unsubtle melodrama578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt’s odd to imagine Prokofiev’s “Classical” \nSymphony ever having been “contemporary” music, but it had just passed \n30 years of age when Arturo Toscanini led the NBC Symphony Orchestra in \nthe broadcast performance featured on Pristine Audio’s collection of \nthree Russian symphonies of the 20th century. This very rapid rendition,\n lasting a little over 13 minutes, was taped on November 15, 1947, but \nit’s a mark of the virtuosic playing and Toscanini’s control of quick \ntempo that it rarely seems hurried; only the lightning-quick first \nmovement has the feel of many bows and fingers straining to keep \ntogether. Pristine’s transfer of the broadcast sounds much fresher than \nthat included in the Music \u0026amp; Arts set \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eToscanini Conducts Music From Russia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (MACD1115).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAccording to the booklet notes, Toscanini felt \nlittle affinity for Shostakovich’s music—“all dissonances,” he’s quoted \nas complaining—and if we’re to accept the version of the long-distance \nmusical relationship related in the disputed Shostakovich memoir, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTestimony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the composer felt little love for the performances of his occasional \ninterpreter. Toscanini lives on in the Shostakovich record books as the \nfirst conductor to perform the “Leningrad” Symphony in the United \nStates, in 1942 (though not, as claimed in the present disc’s booklet \nnote, the world premiere), but this rendition of the First Symphony was \ntaped January 14, 1939. This is, then, one of the earliest performances \nof a Shostakovich symphony on disc, and it’s painted in primary colors, \nemerging very vividly and pretty forcefully through the pre-war \nrecording. It’s very fast where you’d normally expect the music to be \nfairly fast; certainly, far more aggressively driven we than ever hear \nthis music in performances today. Really, the first movement’s genial \nsecond subject is the only moment of space and light in a particularly \nvigorous reading, and if \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTestimony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e really is to be believed, I can imagine the composer finding it all pretty short of lightness and wit.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eKabalevsky’s Second Symphony of 1934 is the real \nrarity here, and Toscanini’s direct and intense approach, heard here in a\n broadcast from November 8, 1942, makes it a really enjoyable one. \nKabalevsky does, admittedly, paint in the bright and uncomplicated \ncolors of the propaganda poster, but he’s a composer of enough ability \nto do it convincingly. Where the Toscanini drive was just too much in \nthe Shostakovich, it’s positively a virtue here, and the NBC Symphony’s \ncracking playing make the best possible case for Kabalevsky’s gloriously\n unsubtle melodrama. Kabalevsky’s more familiar \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eColas Breugnon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Overture, taped on April 11, 1943, is the witty bonus at the disc’s end.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt all sounds brilliant in Andrew Rose’s \ntransfers. The original spoken radio instructions have been retained, \nwhich is a quaint touch, and the booklet notes provide a brief but \ndetailed guide (Leningrad-slip notwithstanding) to Toscanini’s work with\n the three featured composers. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003ci\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eAndrew Morris  \u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eThis article originally appeared in Issue 42:6 (July\/Aug 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 14px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC548.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    It is easy to forget, since Toscanini lived so long and the bulk of his\n    recordings came towards the end of his career, that he knew or corresponded\n    with a vast number of composers, and that he went out of his way to program\n    their compositions in his concerts. In his youth the music of Tchaikovsky,\n    Brahms, and even Wagner was relatively new. He knew Verdi, Puccini and\n    Mascagni personally and was happy to perform numerous works by both\n    well-known and more obscure American composers [see PASC495 and PASC497].\n    His relationship with contemporary Russian composers was complicated. He\n    was in personal touch with all three composers represented here, and they\n    joined together in wishing Toscanini a happy 80\u003csup\u003eth\u003c\/sup\u003e birthday in\n    1947. All of them would have been glad to receive the musical blessing,\n    bestowed by his conducting their works, of the man widely considered to be\n    the greatest living conductor. But while he was clearly willing to perform\n    modern Russian works, he did not embrace them wholeheartedly.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Prokofiev composed his ‘Classical Symphony’ in 1916. Perhaps the more\n    traditional form and tonality appealed to Toscanini, compared to\n    Prokofiev’s later works, as it was the only composition of his that\n    Toscanini ever conducted – three performances with the New York\n    Philharmonic in 1929, and five with the NBCSO in 1939, 1944, 1946, 1947 and\n    1951. He also recorded the work commercially for RCA in 1951.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nToscanini conducted just two of Shostakovich’s symphonies, the 1    \u003csup\u003est\u003c\/sup\u003e and the 7\u003csup\u003eth\u003c\/sup\u003e. Of those the 7\u003csup\u003eth\u003c\/sup\u003e was\n    performed only four times (the world premiere with the NBCSO followed by\n    three further performances with the New York Philharmonic, all in 1942).\n    Toscanini conducted the 1\u003csup\u003est\u003c\/sup\u003e symphony at least ten times with\n    four different orchestras - the NY Philharmonic (1931), the Vienna Symphony\n    Orchestra (1939), the BBC Symphony Orchestra (1937), the La Scala Orchestra\n    (1946) and the NBCSO (1939 and 1944). Toscanini’s biographer, Harvey Sachs,\n    describes him as ‘curious’ about Shostakovich’s music. However Toscanini\n    also described Shostakovich as ‘all dissonances’ and that perhaps explains\n    his unwillingness to conduct more popular works such as the 5\u003csup\u003eth\u003c\/sup\u003e\n    symphony.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Kabalevsky’s 2\u003csup\u003end\u003c\/sup\u003e symphony was programmed twice by Toscanini, in\n    1942 and 1945, both with the NBCSO. This 1942 American premiere ‘made an\n    excellent impression’ according to the New York Times, as authentically\n    fresh work by a ‘sincere and accomplished Russian composer’. Kabalevsky’s\n    Colas Breugnon Overture, composed in 1936, was performed on numerous\n    occasions by Toscanini and the NBCSO, and a commercial recording was made\n    for RCA in 1946. The 1943 broadcast presented here was the piece’s American\n    premiere.\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eTOSCANINI conducts Contemporary Russian Music\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 1 in D major, 'Classical', Op. 25\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Larghetto\u003cspan style=\"font-size: 12px;\"\u003e (3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Gavotte. Non troppo allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Fonale. Molto vivace\u003cspan style=\"font-size: 12px;\"\u003e (4:47)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 1 in F minor, Op. 10\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 1st mvt. - Allegretto - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (7:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 2nd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 3rd mvt. - Lento\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 4th mvt. - Allegro molto - Lento - Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (10:02)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eKABALEVSKY \u003c\/b\u003eSymphony No. 2 in C minor, Op. 18\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 1st mvt. - Allegro quasi presto\u003cspan style=\"font-size: 12px;\"\u003e (7:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 2nd mvt. - Andante non troppo\u003cspan style=\"font-size: 12px;\"\u003e (9:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e 3rd mvt. - Prestissimo scherzando\u003cspan style=\"font-size: 12px;\"\u003e (6:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eKABALEVSKY\u003c\/b\u003e Overture to Colas Breugnon\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Toscanini\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eProkofiev\u003c\/b\u003e Symphony 1\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast 15 November 1947\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eShostakovich\u003c\/b\u003e Symphony 1\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast 14 January 1939\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eKabalevsky\u003c\/b\u003e Symphony 2\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast 8 November 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eKabalevsky\u003c\/b\u003e Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast 11 April 1943\u003cbr\u003eBroadcast from NBC Studio 8H\u003cbr\u003eRadio City, New York\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 74:56\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\/PASC548.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC548.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":28571751481405,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205543346510,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205543379278,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC548_d23fdebf-d08f-4f81-9cf9-f4910331584e.jpg?v=1559226816"},{"product_id":"pasc548-cd","title":"TOSCANINI conducts Contemporary Russian Music (1939-47) - PASC548 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC548.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205543313742,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC548_6d37f702-feaa-4ad7-b00a-c477ea51cc70.jpg?v=1658745800"},{"product_id":"pasc573","title":"KOUSSEVITZKY conducts Bernstein, Hanson \u0026 Shostakovich (1946\/49) - PASC573","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBERNSTEIN \u003c\/b\u003eSymphony No. 2, 'The Age of Anxiety'\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003cb\u003eHANSON \u003c\/b\u003eSerenade for Flute, Harp \u0026amp; Strings\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1946\/49\u003cbr\u003eTotal duration: 69:57\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLeonard Bernstein\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSerge Koussevitzky\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC573.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The unsettling years immediately following the end of World War II are\n    reflected in the two main pieces on this release.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Shostakovich’s Symphony No. 9 received its première on 3 Nov 1945 in\n    Leningrad. It was the composer’s first post war symphony and was intended\n    as the third of a war trilogy. The first two parts of the trilogy, the much\n    longer 7\u003csup\u003eth\u003c\/sup\u003e and 8\u003csup\u003eth\u003c\/sup\u003e symphonies depicted the heroic\n    struggle of the Soviet people against Nazism. This final part was\n    supposedly a celebration of victory but actually turns out to be more of a\n    celebration of life. Shostakovich himself said a ‘bright mood\n    predominates’, and even described it as a ‘merry little piece’ that\n    musicians would enjoy but critics would ‘delight in blasting’. Serge\n    Koussevitzky invited Shostakovich to the US to conduct it ultimately it was\n    Koussevitzky himself who would deliver the American première at the\nBerkshire festival on 25 July 1946. The modest proportions of the 9    \u003csup\u003eth\u003c\/sup\u003e symphony compared to the two previous symphonies was\n    immediately apparent with the \u003cem\u003eNew York Times\u003c\/em\u003e commenting that it\n    was ‘prevailingly gay’ with ‘no pretences to the epic’. Shostakovich was\n    right about the critics: the \u003cem\u003eNew York World Telegram\u003c\/em\u003e grumbled that\n    ‘The Russian composer should not have expressed his feelings about the\n    defeat of Nazism in such a childish manner.’ A second performance, a few\n    weeks later, was broadcast nationally by ABC and is the earliest extant\n    live performance of the symphony.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Bernstein’s Symphony No.2 was based on W. H. Auden’s poem ‘The Age of\n    Anxiety’. The poem, dealing with man’s shifting place in a turbulent and\n    ever-changing world, won the Pulitzer Prize for Poetry in 1948. Leonard\n    Bernstein described the poem as ‘one of the most shattering examples of\n    pure virtuosity in the history of British poetry’ and recalled that it\n    ‘began immediately to affect me’ on first reading and that composing a\n    symphony based on it ‘acquired an almost compulsive quality.’ In part one\n    the story revolves around four characters drowning their sorrows in a bar,\n    struggling to find meaning and direction in an ever more bewildering world.\n    Part two finds the same people at a soulless party which no one is really\n    enjoying, but this spiritual emptiness eventually gives way to an\n    affirmation of faith and hope. Bernstein dedicated the symphony to Serge\n    Koussevitzky marking the end of his 25-year reign as conductor of the\n    Boston Symphony Orchestra. The symphony premièred on 8 April 1949 with this\n    broadcast on the following day.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Howard Hanson’s Serenade for Flute, Harp \u0026amp; Strings, Op. 35 premiered\n    April 1946 at Eastman School of Music in Rochester during an American Music\n    Festival. Hanson was the Director of the Eastman School of Music between\n    1924 and 1964 and although little known today his music was performed by\n    the New York Philharmonic, the NBC Symphony, the Boston Symphony and the\nMetropolitan Opera. His opera Merry Mount is available on \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-howard-hanson\/products\/paco108\"\u003ePACO108\u003c\/a\u003e, his 4    \u003csup\u003eth\u003c\/sup\u003e symphony on both \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc536\"\u003ePASC536\u003c\/a\u003e and \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc292\"\u003ePASC292\u003c\/a\u003e and his 5\u003csup\u003eth\u003c\/sup\u003e\n    symphony on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc332\"\u003ePASC332\u003c\/a\u003e.\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eKOUSSEVITZKY \u003c\/b\u003econducts \u003cb\u003eBernstein\u003c\/b\u003e, \u003cb\u003eHanson\u003c\/b\u003e \u0026amp; \u003cb\u003eShostakovich\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eHANSON\u003c\/b\u003e Serenade for Flute, Harp and Strings, Op. 35\u003cspan style=\"font-size: 12px;\"\u003e (6:11)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGeorges Laurent\u003c\/b\u003e, \u003ci\u003eflute\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBernard Zichera\u003c\/b\u003e, \u003ci\u003eharp\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBERNSTEIN \u003c\/b\u003eSymphony No. 2 - 'The Age of Anxiety'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Part 1 - The Prologue: Lento moderato\u003cspan style=\"font-size: 12px;\"\u003e (2:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e The Seven Ages: 1. L'istesso tempo\u003cspan style=\"font-size: 12px;\"\u003e (0:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e The Seven Ages: 2. Poco più mosso\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e The Seven Ages: 3. Largamente, ma mosso\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e The Seven Ages: 4. Più mosso\u003cspan style=\"font-size: 12px;\"\u003e (0:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e The Seven Ages: 5. Agitato\u003cspan style=\"font-size: 12px;\"\u003e (0:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e The Seven Ages: 6. Poco meno mosso\u003cspan style=\"font-size: 12px;\"\u003e (1:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e The Seven Ages: 7. L'istesso tempo\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e The Seven Stages: 8. Molto moderato, ma movendo\u003cspan style=\"font-size: 12px;\"\u003e (1:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e The Seven Stages: 9. Più mosso (Tempo di Valse)\u003cspan style=\"font-size: 12px;\"\u003e (1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Seven Stages: 10. Più mosso\u003cspan style=\"font-size: 12px;\"\u003e (0:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e The Seven Stages: 11. L'istesso tempo\u003cspan style=\"font-size: 12px;\"\u003e (0:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e The Seven Stages: 12. Poco più vivace\u003cspan style=\"font-size: 12px;\"\u003e (0:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e The Seven Stages: 13. L'istesso tempo\u003cspan style=\"font-size: 12px;\"\u003e (0:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e The Seven Stages: 14. Poco più vivace\u003cspan style=\"font-size: 12px;\"\u003e (0:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Part 2 - The Dirge: Largo\u003cspan style=\"font-size: 12px;\"\u003e (5:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e The Masque: Extremely Fast\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e The Epilogue: L'istesso tempo\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLeonard Bernstein\u003c\/b\u003e, \u003ci\u003epiano\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 9\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e 2nd mvt. - Moderato\u003cspan style=\"font-size: 12px;\"\u003e (13:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e 3rd mvt. - Presto\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e 4th mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e 5th mvt. - Allegretto - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:57)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSerge Koussevitzky\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Koussevitzky with Leonard Bernstein after a 1949 performance of Symphony No. 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eHanson\u003c\/b\u003e Serenade for Flute, Harp \u0026amp; Strings*\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econcert of 12 November 1946\u003cbr\u003e\u003ci\u003efirst recorded performance\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBernstein \u003c\/b\u003eSymphony No. 2, 'The Age of Anxiety'\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econcert of 9 April 1949\u003cbr\u003e\u003ci\u003efirst recorded performance\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eShostakovich \u003c\/b\u003eSymphony No. 9\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econcert of 10 August 1946\u003cbr\u003e\u003ci\u003efirst recorded performance\u003c\/i\u003e\u003cbr\u003evenues: Boston Symphony Hall, *Woolsey Hall, Yale\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 69:57\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\/PASC573.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC573.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":30494314430525,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205537907022,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205537939790,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC573_5653bbec-d594-488c-9cb0-8060bdf8e7df.jpg?v=1570458572"},{"product_id":"pasc573-cd","title":"KOUSSEVITZKY conducts Bernstein, Hanson \u0026 Shostakovich (1946\/49) - PASC573 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC573.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205537841486,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC573.jpg?v=1658746408"},{"product_id":"pabx035","title":"STOKOWSKI The Pristine NBC Symphony Series (1941-1944) - PABX035","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003eThe Pristine NBC Symphony Series\u003cbr\u003eA 16-CD set featuring music by: A\u003cb\u003emfitheatrof, Antheil, BACH, BEETHOVEN, BRAHMS, BUTTERWORTH, Cooley, COPLAND, Creston, DEBUSSY, GOULD, HANSON, HARRIS, HINDEMITH, HOLST, Hovhaness, KELLY, LAVALLE, MILHAUD, Mohaupt, RAVEL, RIMSKY-KORSAKOV, SCHOENBERG, Schuman, SHOSTAKOVICH, STRAVINSKY, Stringfield, TCHAIKOVSKY, Thomson, VAUGHAN WILLIAMS, WAGNER\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAnne Brown.\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eWinifred Heidt.\u003c\/b\u003e contralto\u003cbr\u003e\u003cb\u003eWilliam Horne.\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eLawrence Whisonant.\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eCollegiate Chorale\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Westminster Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC629.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis remarkable historic document demonstrates just how good a recording it was possible to make as long ago as 1942. It must surely rate as one of, if not the best sounding recordings I have ever encountered from that era. Things would improve dramatically in the years immediately after the end of the Second World War, but it is unusual to find such fidelity during the war years, especially outside Germany.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe source for this recording was a set of acetate discs apparently prepared for South American broadcasters which, by the sound of them, were never actually played. Comparisons to other sources, such as those used for a previous issue of this concert, indicate just how quickly and badly these delicate discs deteriorated with use. Indeed the bonus track on this release gives the listener some indication of the difference - taken from the English language acetates we hear the familiar indicators of wear and tear even after extensive declicking and cleaning up in the extended commentary that preceded the NBC broadcast .\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy contrast the mint acetates which provide the musical content offer a fidelity one might normally expect from a good late-1950s mono vinyl pressing. For the most part they provided me with a very straightforward task, with XR remastering bringing out the full tonal range of the orchestra, with very low surface noise and an exceptionally full frequency range for an early 1940s recording. As is common with disc recordings there was some gradual loss of treble towards the end of each side, and side changes were pretty brutally chopped, with no overlap to allow for cross-fading. But this aside, the only other challenge was the missing first note! This was ultimately patched in from another \"digitally aged\" recording of more recent vintage, as my other sources of the Stokowski performance were of such lower sonic quality. The result is a seamless patch and and entirely convincing opening.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt is a shame, but entirely understandable, that we have no 1942 photo of Stokowski and Shostakovich together. As our sleevenotes detail, it's amazing that Stokowski (and a number of other major US-based conductors) were even able to get their hands on a copy of the score. I am very grateful though to Edward Johnson for digging out and sending me the 1958 photograph of composer and conductor which grace the cover of this release. Stokowski was a great champion of the Soviet composer's work. Now at last we have his only recording of the \"Leningrad\" Symphony in sound which truly does justice both to the work and to the performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese two 1944 recordings continue to astound me weeks after I first \nheard them. Culled from the same source which provided us with \nStokowski's 1942 Shostakovich \"Leningrad\" Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-leopold-stokowski\/products\/pasc527\"\u003ePASC527\u003c\/a\u003e) they again confound expectations as to what a recording of this vintage should sound like.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHere\n we find Stokowski conducting the brilliant NBC Symphony Orchestra in \nstunning renditions of Tchaikovsky's 6th Symphony and Romeo and Juliet \nfantasy overture - made all the more so by the frankly incredible sound \nquality of the recordings. At times, stereo aside, one might be forgiven\n for thinking some of these recordings had been made last week, rather \nthan nearly three-quarters of a century ago.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNaturally they \nweren't originally quite this good. Pitch jumps in the symphony had to \nbe corrected, clicks and scratches evened out, and Pristine's XR \nremastering system employed to accurately re-equalise the sound and \nbring out the full glory of the NBC orchestra. \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWith a full \nfrequency range, exceptionally quiet sides allowing an extraordinarily \nwide dynamic range, and very little in the way of other flaws or \naudience noise to get in the way of the listening experience, one is \nalmost immediately drawn into the performances - and they are white hot,\n as Edward Johnson's excellent sleevenotes explain.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"\u003ci\u003eIt was a rousing performance ... Mr. Stokowski led a dramatic performance that had special drive and crispness in the scherzo and that built up into a series of big climaxes in the last movement\u003c\/i\u003e.\" - New York Times, 1941\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eExactly one month prior to the entry of the United States into World War II, on Armistice Day 1941, Leopold Stokowski conducted the NBC Symphony Orchestra in a rare performance for him of Beethoven's Symphony No. 9. As the NY Times reviewer pointed out, \"he chose a solemn day in a momentous time to set forth once more Beethoven’s affirmation of the brotherhood of man.\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt's a performance that has never been heard in full since. A scheduling anomaly meant that whilst Stokowski performed the entire work before a packed house, radio listeners were treated only to the final choral movement. The first three movements were never broadcast, and as far as we can tell, have not been issued before.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThey were however captured in a line recording, from which the present release is largely drawn, and preserved in stunning sound quality for the day. Indeed the finale, which was drawn from a recording of the broadcast (complete with closing commentary), whilst also of fine sound quality, struggles to quite match that heard in the opening three movements.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt should at this point be noted that a very short section at the end of the third movement was missing from the original source recording. We assume that the time recording was faded out at this point in order for the commentator to be heard on NBC radio. For this I have patched in a later recording by Stokowski, digitally aged to match the sound of the 1941 recording and spliced in so seamlessly that two Stokowski experts who heard it prior to release were unable to detect the change. It helped enormously that Stokowski's later performance matched the 1941 tempo almost exactly during that third movement. I have also reconstructed a shorter pause between third and fourth movements than was heard by the audience on the night - an extra delay was caused by the need to go \"on air\" prior to commencing the finale, as the Times' reviewer noted the following day.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAnd so we present an entirely new Stokowski performance of the Choral Symphony. As you'll hear from the sample  movement (the second) on this page, it really is a stunning sounding performance - and one you won't wish to be without.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\nSTOKOWSKI \u003cbr\u003econducts a British Music programme at the NBC\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nBritish-born Leopold Stokowski came into the world in what is now called\n    New Cavendish Street in London, just a block away from the BBC's\n    Broadcasting House. He attended St. Marylebone School, just up the road,\n    and sang in the choir of the adjoining St. Marylebone Parish Church. It was\n    here, as a 12-year-old choirboy, that he took over the performance of a\n    church service, perhaps choral evensong, when the regular choirmaster\n    failed to show up. The experience gave him a sleepless night and instilled\n    in him an overwhelming desire to become a conductor. He related these early\n    conducting ambitions when choosing his 'Desert Island Discs' for the BBC\n    radio show of that name in 1957 (it's readily available on YouTube!).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    His musical precocity took him to the Royal College of Music in 1895 where,\n    at the age of 13, he was the youngest student at the time to be admitted.\n    Two of his fellow organ students, both a few years older, were Gustav Holst\n    and Ralph Vaughan Williams. These two were already firm friends, both\n    having a strong interest in English folk music. Stokowski's teachers at the\n    RCM included Sir Hubert Parry and Sir Charles Villiers Stanford. Needless\n    to say Stokowski could not remotely have anticipated that one day he would\n    be performing works by all four of these composers for American audiences.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In 1902, the young Leopold became the organist at St. James's, Piccadilly.\n    Here he attracted the attention of the rector of St. Bartholomew's in New\n    York City. He had come to England to find a new music director for this\n    immensely fashionable church and was so impressed with the colourful\n    individuality of Stokowski's organ playing that he immediately offered him\n    the post of choirmaster.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski duly took up the appointment in 1905 and it was in the USA that\n    he made his career and where in 1915 he became an American citizen. During\n    those early years he spent his summers in Europe studying conducting. As a\n    result, his ambition to become an orchestral conductor was fully realised\n    in 1909 when he made his debut in Paris. The Cincinnati Orchestra was\n    looking for a new conductor and their representatives who heard the concert\n    were so impressed by the youthful maestro's \"remarkable qualities\" that he\n    was immediately offered the job.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski's three-year apprenticeship in Cincinnati found him starting as\n    he meant to go on. He studied and learnt the basic repertoire but he also\n    included much that was being written by living composers. When it came to\n    English music, Elgar's made its first appearance in a Stokowski \/\n    Cincinnati concert with the Pomp and Circumstance March No. 1 in 1911.\n    Later that year, on 24 November 1911, came one of Stokowski's innumerable\n    US Premieres when he introduced Elgar’s 2nd Symphony to America. The\n    Cincinnati \u003cem\u003eTimes-Star \u003c\/em\u003ewas unpersuaded of the work’s merits: “The\n    composition is pleasant and interesting; but it is not great, nor in any\n    sense convincing.” Maybe that view still holds good even today, since none\n    of the great American orchestras have yet made a commercial studio\n    recording of the work!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In 1912, Stokowski left Cincinnati for Philadelphia where he conducted\nGustav Holst's music for the first time with a performance of the    \u003cem\u003eJapanese Suite \u003c\/em\u003eon 15 October 1925 in yet another US Premiere. He\n    returned to Holst's music in 1934 when, on learning of the composer's\n    death, he conducted \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003ePlanets\u003c\/em\u003e by way of a tribute.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    His next performance of \u003cem\u003eThe Planets\u003c\/em\u003e came about during his\n    three-season appointment as the NBC Symphony's chief conductor following\n    Toscanini's temporary withdrawal in 1941. The war had its own influence on\n    Stokowski’s NBC programmes and he often advocated music from the Allied\ncountries. England was duly represented on 14 February 1943 by what the    \u003cem\u003eNew York Times \u003c\/em\u003edescribed as “a remarkable performance of Holst’s\ngreat mystical tone-poem\u003cem\u003e.\u003c\/em\u003e” The critic from the daily    \u003cem\u003eBrooklyn\u003c\/em\u003e \u003cem\u003eEagle \u003c\/em\u003eadded that \"Stokowski knew, of course, how\n    to show \u003cem\u003eThe Planets\u003c\/em\u003e their orchestral brilliance most graphically,\n    while the orchestra lent its virtuosity to a good cause.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    A previous incarnation of this same NBC performance several years ago\n    elicited from critic Andrew Achenbach that it was “a \u003cem\u003ePlanets\u003c\/em\u003e\n    crammed full of interpretative incident, superbly played by a legendary\n    orchestra ... Stokowski’s broadcast evinces a giant theatricality and\n    abundant zeal that prove hypnotically compelling.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski returned to the work in 1956 when he made its first stereo\n    recording in Capitol's 'Full Dimensional Stereo Sound' with the Los Angeles\n    Philharmonic. This reading proved controversial in several ways and was\n    given short shrift in the \u003cem\u003eGramophone\u003c\/em\u003e by Trevor Harvey who in any\n    case confessed in print that he was no admirer of Stokowski. Even so, the\n    LP's total sales, on the original Capitol label together with its Music for\n    Pleasure reissue, reached nearly half-a-million copies in the UK which\n    wasn't bad going!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski's next traversal of \u003cem\u003eThe Planets\u003c\/em\u003e took place in the Royal\n    Albert Hall in 1963 with the London Symphony Orchestra. The programme was\n    all-British, with John Addison's \u003cem\u003eCarte Blanche\u003c\/em\u003e Ballet Suite and\n    Vaughan Williams's \u003cem\u003eTallis Fantasia\u003c\/em\u003e occupying the first half and\n    Holst coming after the interval. This time, as was often the case in those\n    days, the critical reactions to a \"live\" Stokowski performance could be\n    quite different to the reviews of one of his LPs. For example, one\n    commentator wrote of his LSO performance of \u003cem\u003eThe Planets\u003c\/em\u003e that\n    \"Stokowski evoked, with scarcely a vehement gesture, gusts and storms,\n    winged chatter, whimsical heartiness and the mystery of voices dying in\n    space,\" while another described him as \"a marvellous conductor; individual\n    certainly, eccentric even on occasion; but capable of achieving unique,\n    exciting and vastly stimulating results.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    But to return to the war-time NBC seasons and \u003cem\u003eA Shropshire Lad\u003c\/em\u003e by\n    George Butterworth. Doubtless Stokowski had heard Sir Adrian Boult's\n    performance in an all-British NBC broadcast in 1938 and decided to revive\n    it himself. Butterworth's idyllic orchestral rhapsody was to prove highly\n    influential on several British composers but as with the seven performances\n    on Pristine's \"Wartime NBC Premieres\" release (PASC 536) this was the only\n    occasion on which Stokowski conducted the work.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    So to Vaughan Williams. Stokowski was - as with so many living composers at\n    the time - something of an RVW champion as far as American audiences were\n    concerned. He introduced \u003cem\u003eA\u003c\/em\u003e \u003cem\u003ePastoral Symphony\u003c\/em\u003e (RVW's 3rd)\nto his fellow Philadelphians in 1924 and followed that with the    \u003cem\u003eTallis Fantasia\u003c\/em\u003e two years later. He gave a blazing performance of\n    the 4th Symphony with the NBCSO in 1943 and made the first recording of the\n6th with the New York Philharmonic in 1949. He performed the    \u003cem\u003eSinfonia Antartica\u003c\/em\u003e in Houston in 1954 and played No. 8 in London's\n    Royal Festival Hall in 1957 in the delighted composer's presence. The\n    following year, on hearing of Vaughan Williams's death, he paid tribute by\n    conducting the US Premiere of RVW's last Symphony, his Ninth.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This leads us to the final work in this NBC selection and something of a\nrarity it is too! The original score of the    \u003cem\u003eFantasia on Christmas Carols\u003c\/em\u003e requires a baritone soloist, a choir\n    and an accompanying orchestra. However, it was also published in other\n    formats, including a version with a string orchestra and organ supplying\n    the accompaniment, or just an organ or a piano on its own.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Vaughan Williams's \u003cem\u003eSerenade to Music \u003c\/em\u003ehad also been published in\n    several formats, the original being for 16 voices and orchestra, though the\n    work can also be performed by orchestra alone. We can only speculate on\n    Stokowski's decision in the run-up to his Christmas 1943 concert but it\nseems likely that he took his cue from RVW's own orchestral version of the\u003cem\u003eSerenade to Music \u003c\/em\u003eand adopted the same procedure with the    \u003cem\u003eCarols Fantasia\u003c\/em\u003e. It therefore seems probable that he asked an NBC\n    'house copyist' to cue the vocal parts into the orchestral ones. Thus, for\n    example, the baritone solo at the start is played by a bassoon, while the\n    first choral entry is taken over by the strings. This orchestral version\n    proves an effective alternative to the choral original and one wonders why\n    Stokowski's idea hasn't been adopted and published, so that other\n    orchestras can play it in their own Christmas concerts!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    To conclude, when it came to English music, Stokowski probably performed\n    more of it than any of his equally illustrious States-side podium\n    colleagues. In addition to those mentioned above, he played compositions by\n    Richard Arnell, Malcolm Arnold, Arnold Bax, Arthur Bliss, Havergal Brian,\n    Benjamin Britten, Henry Walford Davies, George Dyson, Edward German,\n    Kenneth Leighton, Ermest Moeran, Roger Quilter, Alan Rawsthorne, Edmund\n    Rubbra, Cyril Scott, Arthur Sullivan, Michael Tippett, William Walton and\n    David Wooldridge. Happily, broadcasts such as the ones presented here have\n    survived, thus giving us an opportunity to hear Stokowski's \"remarkable\n    qualities\" for ourselves!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    When Stokowski visited London in 1957 to make his annual appearances in the\n    capital, he was invited onto 'Desert Island Discs.' This is the BBC's\n    long-running radio programme in which well-known persons are asked to\n    choose 8 recordings to take with them, should they be marooned on a desert\nisland. Among Stokowski's choices was \"Sirènes\" from Debussy's    \u003cem\u003eThree Nocturnes\u003c\/em\u003e. \"I am a great lover of Debussy,\" he told the\n    presenter, \"and when I was a student in Paris a long time ago I heard him\n    play the piano and I also heard him conduct. I think he was a great\n    genius.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski's devotion to Debussy's music was exemplified in his orchestral\n    arrangements of \"The Engulfed Cathedral\" and \"Night in Granada,\" both\n    presented here. He also transcribed \"Clair de lune,\" his 1937 Philadelphia\n    Orchestra 78rpm disc becoming a huge best-seller in its day.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    However, the one Debussy piece that Stokowski conducted the most, both on\n    record and in the concert-hall, was \"Prelude to the Afternoon of a Faun.\"\n    He performed it for the first time in Cincinnati in 1912, made the first\n    American recording acoustically in 1924 (PASC 441) and played it for the\n    last time in 1972 at the age of 90. In his notes to a 1958 Capitol LP\n    featuring the work, he wrote: \"This music is a miracle of delicate, erotic\n    beauty, suggesting a dream world of pagan loveliness, utterly original, in\n    every way perfect.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    One of the many interesting aspects of Stokowski's three-season tenure with\n    the NBC Symphony was the extraordinary amount of new music he programmed.\n    Perhaps even more remarkable was that he played many such works just once\n    for a single radio broadcast but never returned to them. The selected\n    'Symphonic Fragments' from Debussy's \"Le Martyre\n    de Saint Sebastien\" are a case in point, as is Darius Milhaud's 1st\n    Symphony in what was its New York premiere.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Milhaud family had fled to the USA in early 1940, following the Nazi\n    invasion of France. The Symphony No. 1 had just been completed, having been\n    commissioned by the Chicago Symphony as one of the works marking its 50th\n    Anniversary celebrations that year, and it was conducted by Milhaud himself\n    on 17 October 1940. Commentators have said that this is one of his finest\n    works, with Stokowski's performance having been called \"highly idiomatic\"\n    and the composer himself declaring it \"very powerful.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Our final selection, the 2nd Suite from Ravel's \"Daphnis and Chloe,\" was\n    also the concluding work on that particular day's programme. Listening to\n    it, one wonders if the great maestro had glanced at the studio clock and\n    wanted to make sure the broadcast didn't over-run. At any rate, in the\n    final dance he pushed the NBC players to their utmost limits and duly\n    brought the house down. One thing can safely be said of Stokowski: he was\n    seldom if ever dull!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen the 88-year-old Leopold Stokowski conducted a work by Charles Ives with the London Symphony Orchestra in 1970, one critic referred to the maestro as \"the man who has done more for contemporary music in America than all the rest of his generation put together.\" Indeed, \u003ci\u003eThe New York Times\u003c\/i\u003e once estimated that Stokowski had given around 2,000 \"first performances\" (World Premieres, US Premieres, first broadcasts and so on) and we begin with one of them.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlan Hovhaness, American-born of Armenian-Scottish descent, was a highly prolific composer who found in Stokowski his foremost presenter of several World Premieres. These included \"Mysterious Mountain,\" especially written - in the composer's own words - for \"a very great and wonderful man.\" For his part, in his 1957 appearance on the BBC Radio show \"Desert Island Discs\" (you'll find the programme on YouTube!) Stokowski singled Hovhaness out as a considerable talent among the younger composers of the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \"Exile\" Symphony was premiered in England in 1939 by the BBC Symphony under Leslie Heward and was introduced to America by Stokowski in 1942. The music evokes the terrible sufferings of the Armenian people during the First World War. Years later, Hovhaness was to replace the middle movement, here entitled \"Conflict,\" with a completely new one called \"Grazioso.\" Stokowski's NBC premiere broadcast remains the only complete extant recording of the \"Exile\" Symphony as first conceived.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough Stokowski was renowned for conducting numerous premieres, he was equally keen to perform new works introduced by others. He was already a staunch advocate of Stravinsky's music, having presented to America several of the composer's major works. These included \"The Rite of Spring\" in its concert and ballet presentations, as well as its first US recording. He also featured it, somewhat abridged and rearranged, in Walt Disney's \"Fantasia,\" thus ensuring its continuing popularity in concerts and on records.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Symphony in C was premiered in Chicago in 1940 by Stravinsky himself. He was to conduct it several times with other American orchestras before it was taken up by Stokowski, who said of the work: \"It is remarkable for its simplicity and flowing cadence and has a certain 18th century flavour, with a wonderful expression of rhythm and counter-rhythm.\" The NBC radio premiere heard here was praised by Virgil Thomson for its \"detailed clarity and overall comprehension.\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eLike so many other German musicians in the 1930s, Paul Hindemith fell foul of the Nazis and in 1940 had to settle in America. The Symphony in E flat was the first of his major works to be composed in the USA and was introduced by Mitropoulos and the Minneapolis Symphony in November the following year. The work consists of a vigorous first movement, a dirge-like second, a 'danse macabre' scherzo and a martial finale. Stokowski was sufficiently taken with the work to play it again with the Hollywood Bowl Symphony and the New York Philharmonic, doubtless revelling in its triumphant closing pages.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eTechnical note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite their age, these wonderfully preserved acetate disc recordings reveal an astonishing level of detail and sound quality and a full frequency response. It's easy to forget, when hearing them, just how old they are - at the time of writing nearly 80 years has passed since these performances took place. Not all of their imperfections have been eradicable, but these minor surface noises pale into insignificance against the majesty of Stokowski's 1942\/3 NBC orchestra and the sound quality captured here. Indeed these are some of the very finest quality recordings I've ever heard from this era. I would have liked to preserve the announcements from each of the performances, but to do so would have taken more space than is available on a single disc. In this instance therefore they have been cut and instead a short amount of applause left at the end of each work.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Although Stokowski never recorded a complete Beethoven cycle, several of\n    the nine symphonies remained firmly in his repertoire during his long\n    conducting career. He played a Beethoven work for the first time in 1909\n    when, at the age of 27, he conducted the Cincinnati Orchestra in the 5th\n    Symphony. Sixty-five years later, aged 91, he performed Beethoven's music\n    for the last time when he gave an LSO concert that included the 8th\n    Symphony and the \"Eroica,\" both hailed by one critic for their \"striking\n    and imaginative performances.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski was among the first conductors to record many works that were -\n    and are - part of the regular concert repertoire. His first Beethoven disc,\n    recorded acoustically in 1920, was of the 8th Symphony's \"Allegretto\n    Scherzando\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\"\u003ePASC192\u003c\/a\u003e). With the advent of electrical recording, he and his\n    Philadelphians made the first American 78s of the 7th Symphony, an\n    exhilarating performance described by Mark Obert-Thorn as \"a reading of\n    immense vitality and rhythmic propulsion\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc483\"\u003ePASC483\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Next came the Beethoven 5th in another American \"first\" - a specially\n    recorded performance designed to introduce RCA's \"Program Transcription\"\n    LPs in 1931. They couldn't have been worse timed and as a result of the\n    great depression soon died a death. Then in 1934, Stokowski made the first\n    American recording of the \"Choral\" Symphony. Seven years later, in 1941, he\n    was given a three-season contract to take over the NBC Symphony during\n    Toscanini's temporary withdrawal and it was Beethoven's 9th Symphony which\n    featured in his second NBC concert (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc541\"\u003ePASC541\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The NBC Symphony's players were of course used to performing Beethoven\n    under Toscanini's direction and after his year's absence, the great Italian\n    maestro returned as Stokowski's co-conductor. This arrangement prompted\n    critic David Hall to comment that \"the most spectacular combination of\n    performances and programming were the two Toscanini-Stokowski seasons.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \"Spectacular\" is a word that can readily be applied to the performances\n    heard here, particularly the Beethoven 5th. The \"Pastoral\" Symphony in this\n    1942 broadcast is now the earliest complete Stokowski performance on\n    record, the \"Fantasia\" soundtrack version having been much abridged. As to\n    the 7th Symphony, Stokowski felt that something stated strongly just once\n    could be weakened by repetition, so he followed the precedents set in other\n    Beethoven symphonies by omitting the second appearance of the Trio in the\n    third movement.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Finally to Wagner, whose \"Prelude and Liebestod\" followed the Beethoven 7th in the 1942 broadcast heard here. A one-time church organist, Stokowski clearly enjoyed pulling out all the stops! 'Parsifal' was the only Wagner opera that he conducted complete, with a Philadelphia concert presentation in 1933. He also began making \"Symphonic Syntheses\" of Wagner's music dramas and the \"Good Friday Spell\" is followed by one of these arrangements. It is music from Act 3 evoking the world of the Knights of the Holy Grail and in this 'live' broadcast, Stokowski brings in a chorus from the opera's final pages. It is a wonderful effect not realised in his three orchestral recordings of the 'Parsifal' \"Synthesis\" and thus makes this performance unique in his immense discography.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \"I'm very fond of Russian music\" Stokowski would often say in interviews\n    and, as with so many contemporary composers during his long career, he was\n    a foremost champion of the Russians, frequently performing works by\n    Rachmaninoff, Shostakovich, Prokofiev, Khachaturian, Scriabin and many\nothers. He was also an advocate of Stravinsky's music, with\u003cem\u003eThe Rite of Spring\u003c\/em\u003e, \u003cem\u003eLes Noces\u003c\/em\u003e, \u003cem\u003eOedipus Rex\u003c\/em\u003e,\u003cem\u003eThe Song of the Nightingale\u003c\/em\u003e and the    \u003cem\u003eSymphonies of Wind Instruments\u003c\/em\u003e all receiving their US premieres\n    under his direction.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nOn Philadelphia Orchestra 78s too, he made the first US recordings of    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e and \u003cem\u003ePetrushka\u003c\/em\u003e, from which he devised\nthe colourful Suite heard here. However, it was \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eFirebird\u003c\/em\u003e Suite which appealed to Stokowski the most. He recorded\n    this work no fewer than eight times, starting with an acoustic set in 1924\n    (PASC192, also featuring \u003cem\u003eFireworks\u003c\/em\u003e). Incidentally, he occasionally\n    added the effective clang of a tubular bell at the start of the \"Infernal\n    Dance,\" as in the brilliantly played NBC performance on this CD.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Tchaikovsky's 4th Symphony also featured in Stokowski's list of numerous\n    disc premieres, its first American recording having been made with the\n    Philadelphia Orchestra in 1928. He was to re-record it for Victor two days\n    after the broadcast heard here in a 78rpm set that has been described as\n    \"fiery and impetuous\" and even \"wilful,\" words that are also applicable to\n    the preceding live performance.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nRimsky-Korsakov was also much in Stokowski's repertoire, with    \u003cem\u003eScheherazade\u003c\/em\u003e excerpted on acoustics (PASC476) and recorded five\ntimes thereafter. He made the first American 78s of the    \u003cem\u003eRussian Easter Festival Overture\u003c\/em\u003e in 1929 and this he also\n    re-recorded with the NBC Symphony for Victor shortly after its 1942\n    broadcast. However, for this performance he made a colourful emendation.\n    About half-way through, Rimsky-Korsakov directs a solo trombone to depict\n    the chanting of a Russian Orthodox priest during an Easter service. At this\n    point, Stokowski decided on what might be called the \"authentic\" touch and\n    engaged Nicola Moscona to intone the Old Slavonic text instead. On the\n    other hand, in the case of the dazzling \u003cem\u003eSpanish Caprice\u003c\/em\u003e, Stokowski\n    rather curiously didn't get round to recording this work commercially until\n    1973, a few months before his 91st birthday!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    However, it is Tchaikovsky who occupies a major portion of Stokowski's\n    discography and we conclude with the 5th Symphony. He recorded the second\n    movement acoustically in 1923 (PASC441) and one of his commercial LPs -\n    taped in 1953 with his own special team of top-flight New York musicians -\n    can be found on PASC188. The same adjectives that have described\n    Stokowski's reading of the 4th Symphony can also be applied to the 5th.\n    Small cuts in both will be noted, though abridging Tchaikovsky in those\n    days was quite common - witness Toscanini's deletion of over 100 bars from\n    the \u003cem\u003eManfred\u003c\/em\u003e Symphony's finale! Nevertheless, in Stokowski's hands,\n    the NBC Symphony gives these Tchaikovsky symphonies virtuosic performances\n    as visceral, intense and as passionate as they come.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eSTOKOWSKI\u003c\/b\u003e\u003cbr\u003econducts Brahms at the NBC\u003cbr\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\"Joy!\" exclaimed W. R. Anderson in the \u003ci\u003eGramophone \u003c\/i\u003eof July 1930, \"Brahms's Third at long last. Our prayers have prevailed.\" He was reacting with delight to the first complete 78rpm set of the work in which Leopold Stokowski conducted the Philadelphia Orchestra. The review concluded enthusiastically: \"This is a grand orchestra and a constructive conductor; and in this music of fine nerve and developed muscle we find fullness of joy.\"\u003cbr\u003e\u003cbr\u003eStokowski began his 60-year recording career in 1917 with acoustic 78s of Brahms's Hungarian DancesNos. 5 and 6 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC192\"\u003ePASC192\u003c\/a\u003e). In 1921 he made the first recording of any of the movements in Brahms's symphonies, the 3rd Symphony's \u003ci\u003eAllegretto \u003c\/i\u003e(\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC476\"\u003ePASC476\u003c\/a\u003e). With the advent of electrical recording, the Philadelphians under his direction became the first orchestra to record a complete cycle of all four symphonies (1927-1933). (No. 1: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC500\"\u003ePASC500\u003c\/a\u003e; No.3: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC540\"\u003ePASC540\u003c\/a\u003e; Nos 2 \u0026amp; 4: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC562\"\u003ePASC562\u003c\/a\u003e).\u003cbr\u003e\u003cbr\u003eStokowski once confessed that he \"always wanted to be first\" and Brahms featured in quite a few of his first engagements over the years. He played a Brahms symphony for the first time - the 3rd - in his debut season with the Cincinnati Orchestra in 1909. Three years later, he conducted the London Symphony in another debut, this time featuring the 1st Symphony. Also in 1912 came another new appointment, as the Philadelphia Orchestra's chief conductor, and the Brahms 1st was played in his debut concert with them.\u003cbr\u003e\u003cbr\u003eFast forward to 1941 and Stokowski's three-season appointment as the NBC Symphony's chief conductor following Toscanini's temporary withdrawal. In his first NBC concert, it was Brahms who yet again featured in a Stokowski debut, with the 3rd Symphony presented here. In his introduction, he spoke of the work's contrasting moods: \"Fiery agitation, melancholy, tranquillity, childlike simplicity.\" Following a genuine \u003ci\u003eAllegro con brio\u003c\/i\u003e at the start, these moods were then illustrated by some extreme tempo changes. Various musicologists consider this work \"difficult to bring off\" but for his part, Stokowski's somewhat rhapsodic approach, as evidenced in his two commercial recordings and also this broadcast, was notably consistent.\u003cbr\u003e\u003cbr\u003eIn the case of the Brahms 4th Symphony, Stokowski's performances were invariably speedy, with the codas to the \u003ci\u003eAllegro \u003c\/i\u003emovements having the \u003ci\u003estringendo \u003c\/i\u003epedal forcefully applied each time. As it happens, it was the Brahms 4th which Stokowski conducted in his final UK public concert in 1974. \"A performance to set one cheering\" wrote Edward Greenfield in \u003ci\u003eThe Guardian\u003c\/i\u003e, \"as indeed the audience did after the first movement.\"\u003cbr\u003e\u003cbr\u003eEven at the age of 95, Stokowski hadn't quite finished with Brahms. In 1977 he recorded the 2nd Symphony with the National Philharmonic Orchestra. Mortimer Frank in \u003ci\u003eFanfare \u003c\/i\u003ehailed it as \"a great Brahms Second,\" while in Classic Record Collector, Robin Golding remarked: \"For me, Stokowski has suddenly become a conductor of world class.\" Some of us knew he was that the first time we heard him!\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    When Stokowski died at the age of 95 in 1977, the vast 60-years discography\n    of his commercial recordings revealed three composers heading the list:\n    Bach, mostly in his own orchestral transcriptions; Tchaikovsky, whom he\n    once declared was his favourite Russian composer; and Wagner, whose music\n    Stokowski also frequently performed both in the concert hall and recording\n    studio.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Born in 1882, his first experience as a conductor came when he sang in the\n    choir at St. Marylebone's Parish Church in London. One evening the regular\n    choirmaster was unable to take a rehearsal, so the 12-year-old Leopold\n    stood in for him. He was later to confess that he had a sleepless night, as\n    he suddenly realised that conducting was something he wanted to do above\n    all else. His musical precocity led him the following year to become the\n    youngest student at that time to enter the Royal College of Music. His work\n    as a youthful organist and choirmaster in several London churches led in\n    1905 to a similar appointment at St. Bartholomew's in New York. Here his\n    brilliantly played organ recitals drew large and fashionable crowds,\n    entranced not only by his playing of Bach but also by his own organ\n    arrangements of orchestral music, including many works by Wagner.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    His musical direction of church services also stood him in good stead for\n    the time when he could fulfil his ambition to be an orchestral conductor.\n    That day arrived in 1909 when he made his official conducting debut with\n    the Colonne Orchestra. The Cincinnati Orchestra was looking for a new\n    conductor and two of their representatives were in the Paris audience.\n    Stokowski received an ovation and the representatives' description of him\n    as \"a magnetic conductor\" ensured his immediate Cincinnati appointment.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    His first concert with them the following November included works by\nMozart, Weber and Beethoven. The programme ended with music by Wagner - the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e and the \u003cem\u003eRide of the Valkyries - \u003c\/em\u003eand with\n    these two works Stokowski conducted Wagner's orchestral music for the very\n    first time. The \u003cem\u003eSiegfried Idyll,\u003c\/em\u003e an eloquent birthday present from\n    Wagner to his wife Cosima, was originally scored for a small ensemble and\n    later expanded for larger forces. Although Stokowski recorded numerous\n    works by Wagner commercially, the \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was not among\n    them, so this NBC broadcast is something of a rarity.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Like Brahms, the music of Wagner was to pop up in a number of Stokowski\n    debuts. For example, his first concert with the London Symphony Orchestra\n    in 1912 began with the \u003cem\u003eMastersingers\u003c\/em\u003e Overture. Later that year,\n    his appointment as the Philadelphia Orchestra's new chief conductor found\n    the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture concluding his opening concert with them.\n    In 1917, when he and his Philadelphians began making 78s, Wagner was\n    naturally included. (All the Stokowski \/ Wagner acoustics have been issued\n    on Pristine Audio: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\"\u003ePASC 192\u003c\/a\u003e, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc441\"\u003ePASC 441\u003c\/a\u003e and \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc471\"\u003ePASC 471\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    As it happens, the concert listings for Stokowski's Philadelphia seasons\n    reveal that when it came to single-composer programmes, Wagner topped the\nbill. The first of these, in December 1912, included the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e again. However, Stokowski never conducted a\n    complete Wagner music-drama in the opera house. The nearest he came was\n    when he gave a concert performance of \u003cem\u003eParsifal\u003c\/em\u003e, its three acts\n    given over successive evenings during Easter Week in 1933. It was also\n    around this time that he began creating \"Symphonic Syntheses\" of Wagner's\n    operas and his own arrangement of music from Act 3 of \u003cem\u003eParsifal\u003c\/em\u003e was\n    duly recorded by his Philadelphians in 1934 and repeated for his NBC\n    audience in 1942 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc591\"\u003ePASC 591\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cem\u003eTristan and Isolde\u003c\/em\u003e\n    was also given the \"Symphonic Synthesis\" treatment, though it exists in\n    more than one version. His first recording, made in 1932, began with the\n    Act 1 Prelude and lasted 35 minutes. He was to record this \"long version\"\n    again for a 1950 LP with his \u003cem\u003ead hoc\u003c\/em\u003e 'Symphony Orchestra' (PASC\n    167). Later, he utilised music just from Acts 2 and 3, originally entitled\n\"Liebesnacht\" and \"Liebestod,\" and this became the \"Love Music\" from    \u003cem\u003eTristan and Isolde\u003c\/em\u003e. Stokowski wrote: \"All through the three acts\n    of \u003cem\u003eTristan\u003c\/em\u003e is sounding the despair and ecstasy of love, but its\n    supreme expression is in the garden scene of the second act and in the last\n    scene of the third act ... This love music continues its overpowering\n    eloquence when words cannot continue. It is the supreme and ultimate of the\n    poetry of love.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Prelude to \u003cem\u003eLohengrin\u003c\/em\u003e was one of the many orchestral works that\n    Stokowski transcribed for organ during his St. Bartholomew's period. He\n    conducted it for the first time in Cincinnati during his opening season\n    there and recorded it acoustically in 1924 with the Philadelphia Orchestra.\nHe also recorded an acoustic 78 of a hugely abridged version of    \u003cem\u003eWotan's Farewell and Magic Fire Music\u003c\/em\u003e, actually its closing pages,\n    though his later recordings with the New York Philharmonic and Houston\n    Symphony were both complete. The musical evocation of Wotan, ruler of the\n    gods, putting his disobedient daughter Brünnhilde to sleep on a rock\n    surrounded by flickering flames is well realised in Stokowski's\n    grandiloquent arrangement and provided a splendid addition to that\n    evening's NBC Symphony concert.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    It was in 1951 that Stokowski became an international maestro, his\n    conducting career up to then having been spent almost exclusively in\n    America. In fact, he'd been hard at work during the post-war period as one\n    of the New York Philharmonic's guest conductors and would dearly have liked\n    to become its principal music director. However, that position went to\n    Dmitri Mitropoulos instead. This left Stokowski free to make annual\n    appearances all over the world, conducting many of the great orchestras in\n    Europe and elsewhere.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    His concerts in England were notable highlights of each season and were\n    invariably sold out. One such occasion occured in June 1970, when he\n    conducted the London Symphony Orchestra in an adventurous programme which\n    included the first performance outside America of Charles Ives's 2nd\n    Orchestral Set. Music critic Peter Heyworth wrote: \"That astonishing old\n    wizard, now in his eighty-ninth year, showed that those supremely eloquent\n    hands have lost none of their cunning ... And how characteristic it is that\n    a man who has done more for contemporary music in America than all the rest\n    of his generation put together should choose to advocate this problematic\n    score.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Ives was among the countless American composers whom Stokowski championed,\n    his 1965 performance of the Ives 4th Symphony being just one of the\n    innumerable World Premieres he presented over his six-decades conducting\n    career. In particular, his three-season appointment as the NBC Symphony's\n    chief conductor from 1941-44 found him performing the works of nearly two\n    dozen contemporary American composers. (Several have already been issued on\n    Pristine CDs - Copland, Lavalle, Hanson and Antheil on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc536\"\u003ePASC 536\u003c\/a\u003e, and\n    Hovhaness on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc587\"\u003ePASC 587\u003c\/a\u003e - all 'first performances' of one sort or another.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe present selection of Americana starts with \u003cem\u003eA\u003c\/em\u003e \u003cem\u003eSymphonic Patrol\u003c\/em\u003e by \u003cb\u003eLamar Stringfield\u003c\/b\u003e (1897-1959). It dates from\n    1931 and was described by the composer as a memorable event in a little\n    Southern village with the sound of beating drums drawing near. \"People -\n    black and white alike - turn their heads and listen to the approaching\n    procession. It is their day. The strutting drum and bugle corps passes in\n    review, sounding a barbaric rhythm of proud hearts.\" It has also been\n    suggested that the piece portrayed the marching of slaves towards freedom,\n    the slow middle section evoking their singing of a gospel-like hymn.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eMorton Gould\u003c\/b\u003e (1913-1996) was another composer much championed by Stokowski.\n    His \u003cem\u003eChorale and Fugue in Jazz\u003c\/em\u003e had been given its World Premiere in\n    Philadelphia in 1936, while the \u003cem\u003eDance Variations\u003c\/em\u003e of 1953 were\n    given their first recording that same year by Stokowski and the San\n    Francisco Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc274\"\u003ePASC 274\u003c\/a\u003e). The \u003cem\u003eSpirituals\u003c\/em\u003e heard here were\n    first performed under the composer's baton in 1941. He wrote: \"The songs\n    range from strictly spiritual ones that are escapist in feeling, to those\n    having tremendous depth and impact. My idea was to get five widely\n    contrasted moods. 'Proclamation' has a dramatic religious intensity.\n    'Sermon' is a sort of lyrical folk tale. 'A Little Bit of Sin' is humorous\n    and good-natured. 'Protest\u003cem\u003e'\u003c\/em\u003e is grim and crying out, while\n    'Jubilee' is a festive dance-like piece.\" When Stokowski reached the age of\n    90 in 1972, numerous musicians from all over the world sent him birthday\n    greetings. Morton Gould wrote: \"We are in your debt for having explored,\n    stimulated, enhanced and guided the sound of our music with your genius.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003ePaul Creston\u003c\/b\u003e (1906-1985) also found in Stokowski a considerable advocate of\n    his music, notably when the maestro included his \u003cem\u003eToccata \u003c\/em\u003ein a\n    special concert marking his 50 years as a conductor in 1958. The 'Scherzo'\n    from Creston's 1st Symphony of 1940 was recorded the following year by the\n    All-American Youth Orchestra and it was often included in Stokowski's\n    concerts as a separate number. The \u003cem\u003eChant of 1942\u003c\/em\u003e was the\n    composer's \"personal reaction to the tragic events of that year - an\n    expression of sadness and indignation but also hope,\" this last feeling\n    being portrayed at the end by a triumphant marching section. Stokowski's\n    NBC performance was its radio premiere.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eWilliam Schuman\u003c\/b\u003e (1910-1992) similarly had a wide range of emotions in mind\n    when he composed his \u003cem\u003ePrayer, 1943. \u003c\/em\u003e\"This work is not programme\n    music,\" he wrote, \"there is no story, nor any realistic event being\n    depicted. The title is merely some indication of the kind of feeling that\n    went into the composition.\" Solemnity characterises the work for the most\n    part, though it is not without energetic moments that introduce a confident\n    mood. However, it ends not in triumph but in a chant-like prayerful\n    close.This was in fact the first time Stokowski conducted any of Schuman's\nmusic and he was to play the work again, under its new title    \u003cem\u003ePrayer in Time of War,\u003c\/em\u003e with the New Orleans Philharmonic-Symphony\n    in 1955.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eRobert Kelly\u003c\/b\u003e (1916-2007) began his studies at the Juilliard School of Music\n    in 1935 and was accepted as a composition student by the Curtis Institute\n    of Music in Philadelphia three years later. His \u003cem\u003eAdirondack Suite\u003c\/em\u003e\n    dates from 1941 and its atmospheric 'Sunset Reflections' movement was\n    included by Stokowski in a programme that ended with the Brahms 4th\n    Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc602\"\u003ePASC 602\u003c\/a\u003e). Kelly's little piece was receiving its first\n    performance and was described by Stokowski as \"impressions of sunset in the\n    mountains, lyrical and poetic, with a quick vibrating rhythm like the\n    pulsations of light.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eVirgil Thomson\u003c\/b\u003e (1896-1989) was noted both as a music critic and a composer\n    of symphonies, operas, ballets and film scores. In 1936 he was commissioned\n    to write the music for \u003cem\u003eThe Plow that Broke the Plains\u003c\/em\u003e, a short\n    documentary which revealed the disastrous effect that uncontrolled farming\n    was having on the American and Canadian prairies at the time. Thomson's\n    score for the soundtrack was the basis of a concert suite that the composer\n    himself premiered in Philadelphia in 1943. It consists of six short\n    movements, their titles reflecting what was seen on the screen. Stokowski's\n    NBC broadcast the following year was succeeded in turn by the work's first\n    recording, a set of RCA Victor 78s on which he conducted the Hollywood Bowl\n    Symphony, one of several orchestras that Stokowski himself created. In\n    fact, he was sufficiently taken with the work to re-record it with the\n    Symphony of the Air for Vanguard in 1961. With its mixture of folk music,\n    popular melodies and religious themes, it is probably the most 'American'\n    work in this compendium.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eCarlton Cooley\u003c\/b\u003e (1898-1981) was one of America's foremost viola players. He\n    joined the Philadelphia Orchestra at the age of 21, became Principal\n    Violist of the Cleveland Orchestra in 1922 and took up a similar position\n    with the NBC Symphony in 1937. He also authored a number of compositions,\n    the \u003cem\u003eEastbourne Sketches\u003c\/em\u003e being three musical reminiscences of \"a\n    holiday spent at that delightful resort on the English Channel during the\n    summer of 1924.\" The work was scored for strings and the opening\n    'Promenade' heard here, in which the composer himself led the viola\n    section, evokes \"the care-free spirit along the boardwalk, the pranks of\n    the bathers, a small band and the town crier.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eRoy Harris\u003c\/b\u003e (1898-1979) composed an enormous number of works in every\n    category imaginable, making him one of the most prolific of American\n    composers. However, it was his 3rd Symphony, premiered by Koussevitzky in\n    1939, which made his name and for which he is probably still best known.\n    His \u003cem\u003eFolk Rhythms of Today\u003c\/em\u003e was another of those war-time works that\n    Stokowski championed during his NBC tenure. It had its origins in a ballet\n    called \u003cem\u003eWhat So Proudly We Hail \u003c\/em\u003eand its rambunctious nature\n    provides a suitably bright and breezy finale to this colourful all-American\n    programme.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cem\u003e\n        With acknowledgements to Adrien Strugeon for his help in researching\n        the above composers.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In his 1947 collection of essays entitled \u003cem\u003eMi Contra Fa\u003c\/em\u003e, the\n    self-styled 'Machiavellian Musician' Kaikhosru Shapurji Sorabji had this to\n    say about 'The Art of the Arranger': \"The great transcriber expounds,\n    enlarges and amplifies matter and thought inherent in the original text and\n    makes the original a \u003cem\u003epoint de départ\u003c\/em\u003e for a great new creation.\"\n    Sorabji went on to discuss the great piano transcriptions of such masters\n    as Godowsky, Liszt and Busoni but his words could equally apply to many of\n    the orchestral arrangements which have stood the test of time, headed\nnaturally enough by Ravel's orchestration of Mussorgsky's    \u003cem\u003ePictures at an\u003c\/em\u003e \u003cem\u003eExhibition \u003c\/em\u003efor solo piano but also\n    including many of Leopold Stokowski's famous \"Symphonic Transcriptions.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In considering the Bach arrangements heard here, we should not forget that\n    JSB was himself the foremost borrower of many of his contemporaries' works.\n    Indeed, his reworkings of the music of Buxtehude, Telemann, Corelli,\n    Couperin, Albinoni, Marcello and others were often very free adaptations,\n    rather than straightforward arrangements. A classic example is Bach's\n    Concerto for Four Harpsichords and Orchestra in A minor, a technical tour\n    de force based on Vivaldi's Concerto for Four Violins in B minor.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski was of course familiar with Bach's keyboard works from his early\n    days as a church organist, both in London and New York. His recitals were\n    said to have dazzled listeners, not only with his playing of Bach but also\n    assorted orchestral pieces arranged for the organ. Indeed, on one occasion,\nat the end of a St. Bartholomew's recital, he let rip with    \u003cem\u003eThe Ride of\u003c\/em\u003e \u003cem\u003ethe Valkyries\u003c\/em\u003e, only to be sternly admonished\n    by a local critic for playing music of such \"unchurchliness\"!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    However, Stokowski soon moved with alacrity from the organ console to the\n    conductor's podium, learning the basic repertoire during his three years\n    with the Cincinnati Orchestra. A few of Bach's instrumental works found\n    their way into his concerts there but with his move to Philadelphia in\n    1912, his repertoire became much more extensive and widespread.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    With much nostalgia, he looked back to his church organist days,\n    recollected the Bach works he played in his youth and decided to transcribe\n    them for his new Philadelphia audience. The most popular orchestration of\nany of Bach's organ works is undoubtedly Stokowski's transcription of the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e. This received its premiere on 8\n    February 1926, its first recording being made the following year. That\n78rpm shellac disc was a phenomenal best seller and was hailed in the    \u003cem\u003eGramophone\u003c\/em\u003e as \"one of the most exciting achievements of the\n    American orchestra ... the only word is 'magnificent.' Every organist has\n    his ideal conception of how he would like this arranged for orchestra but I\n    do not think any will withhold very high praise indeed to the transcriber\n    and the players.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski's transcription was to find even larger world-wide fame when it\n    was featured in Walt Disney's \u003cem\u003eFantasia\u003c\/em\u003e. As a result, many\n    conductors have included it their concert repertoire and it has been\n    commercially recorded by Wolfgang Sawallisch and Yannick Nézet-Séguin,\n    former and present conductors of the Philadelphia Orchestra, as well as\n    José Serebrier and Matthias Bamert, Stokowski's associates during his time\n    with the American Symphony Orchestra.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Less well known perhaps is the \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e from Book 1 of\n    the Well-Tempered Clavier. This arrangement was given its first performance\n    as well as its first recording in 1927. It was also the opening item on\n    Stokowski's debut concert with the NBC Symphony in 1941 and is one of his\n    most solemn and reflective Bach transcriptions.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    As is well-known, Bach himself often re-used his own music in different\n    works and we have an example in the \u003cem\u003eArioso\u003c\/em\u003e heard next. It is the\n    slow movement from his Keyboard Concerto No. 5 in F minor as well as the\nopening \"Sinfonia\" to the Cantata No. 156    \u003cem\u003eIch steh mit einem Fuß im Grabe. \u003c\/em\u003eIn the \"Sinfonia,\" Bach gives the\n    melody to the solo oboe throughout but in Stokowski's version, it is played\n    by the massed strings.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Bach used the Lutheran chorale \u003cem\u003eEin Feste Burg \u003c\/em\u003eon a number of\n    occasions and Stokowski made three versions of it himself. The first one -\n    a \"short\" version - was recorded on a 10\" Philadelphia Orchestra disc in\n1933. It was this arrangement that he used to mark his movie debut in    \u003cem\u003eThe Big Broadcast of 1937\u003c\/em\u003e. He then expanded it to a longer version\n    and this had its first recording in 1939. Two years later, in a New York\n    Philharmonic concert, he introduced a third version which he played again\n    with the NBC Symphony in 1942. It's a real curiosity, in which the Lutheran\n    chorale is interspersed with an assortment of woodwind cadenzas. Evidently\n    Stokowski decided that the second \"long\" version was the best of the three\n    and it was that which he re-recorded on two further occasions. The NBC\n    performance of the third version is presented here in its only extant\n    recording.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    When Stokowski was invited onto the BBC's long-running radio programme\n    \"Desert Island Discs\" in 1957, the first of the eight records he chose to\n    be marooned with was a Bach Chorale Prelude. He transcribed several of\n    these and of \u003cem\u003eWir glauben all' an einen Gott\u003c\/em\u003e, he wrote: \"In giving\n    this music orchestral expression, I have tried to imagine what Bach would\n    do if he had the vast resources of the modern orchestra as his instrument,\n    instead of the more limited instrumental means of his time.\" Stokowski\n    added that the music is an organ fugue and that the pedal theme \"has the\n    sound of giant-like strides up and down the octave - from which comes the\n    familiar name of the 'Giant Fugue'.\" This performance began the NBC\n    broadcast of 6 December 1942 and was immediately followed by the next piece\n    without a pause.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nIt is the middle movement of the organ    \u003cem\u003eToccata, Adagio and Fugue in C major\u003c\/em\u003e and features what Stokowski\n    described as \"the balance between the intellectual and emotional sides of\n    Bach's personality. It has the improvisational freedom of so much of Bach's\n    music. Possibly the germ of its themes and the mood of its feeling stem\n    from an occasion when Bach was improvising on the organ.\" Stokowski and his\n    Philadelphians made the first recording of the piece in 1933 but he never\n    re-recorded it commercially, thus making his NBC performance something of a\n    rarity.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cem\u003eEs is vollbracht \u003c\/em\u003e\n    comes from the second part of the St. John Passion where it is a solo aria\n    for alto. The opening words translate as \"It is accomplished; what comfort\n    for suffering human souls. I can see the end of the night of sorrow.\" With\n    the words \"The hero from Judah ends his victorious fight!\" the music\n    brightens up and a solo trumpet emulates the alto part, the music then\n    reverting to the grave solemnity with which the piece began.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cem\u003eChrist lag in Todesbanden\u003c\/em\u003e\n    is another of the organ Chorale Preludes which Stokowski transcribed for\n    orchestra. Bach based it on an Easter Hymn by Martin Luther which itself\n    was derived from earlier examples of the melody. Stokowski's arrangement is\n    sombrely scored and was another of the Bach transcriptions which he\n    recorded commercially only once, on a Philadelphia 78 in 1931.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    To complete the entire selection of Bach arrangements which Stokowski\n    performed, and in some cases introduced, during his three seasons as the\nNBC Symphony's chief conductor, we hear the mighty    \u003cem\u003ePassacaglia and Fugue in C minor. \u003c\/em\u003eBy a remarkable coincidence this\n    was the very last work that he played on his final NBC Symphony programme\nand - rather like a pair of bookends - it mirrored the    \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e with which he opened his first NBC concert\n    three years earlier!\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This was in fact one of Stokowski's earliest Bach transcriptions and it had\nits premiere on 10 February 1922. As with the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e, he recorded it several times over\n    the years, the first occasion with the Philadelphia Orchestra in 1929 and\n    the last with the Czech Philharmonic shortly after his 90th birthday in\n    1972. In his published score he wrote: \"Bach's Passacaglia is in music what\n    a great Gothic cathedral is in architecture - the same vast conception -\n    the same soaring mysticism given eternal form. Whether played on the organ,\n    or by the greatest of all instruments - the orchestra - it is one of the\n    most divinely inspired creations ever conceived.\"\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    To conclude, we turn from arranged Bach to an appropriate non-transcribed\n    finale - the closing chorus from the St Matthew Passion, sung in an English\n    edition: \"Here yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O\n    Saviour blest; rest Thou calmly, Thou calmly, calmly rest.\" This was a work\n    Stokowski conducted several times over the years, starting in 1907 when he\n    was organist and choirmaster at New York's St Bartholomew's Church. His\n    biographer Oliver Daniel was to remark that \"it was surely one of the\n    earliest American performances of the complete work.\" Stokowski also\n    featured it in his very last concerts with the Philadelphia Orchestra in\n    1941, following his resignation from an ensemble he had built into one of\n    the world's finest. This NBC performance of the final chorus is again\n    something of a rarity, insofar as Stokowski's discography is concerned, but\n    it makes a suitable conclusion to a compendium of music by the maestro's\n    declared favourite composer.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e The Pristine NBC Symphony Series (1941-1944)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 7 in C, Op. 60 \"Leningrad\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (28:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Moderato (poco allegretto)\u003cspan style=\"font-size: 12px;\"\u003e (10:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (17:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (15:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Bonus track: Radio Introductory Commentary\u003cspan style=\"font-size: 12px;\"\u003e (6:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski \u003c\/b\u003eand \u003cb\u003eShostakovich\u003c\/b\u003e, taken in 1958\u003cbr\u003eLive concert broadcast, 13 December 1942\u003cbr\u003eCarnegie Hall, New York City\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:34\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI conducts Tchaikovsky\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eRomeo and Juliet - Fantasy Overture\u003cspan style=\"font-size: 12px;\"\u003e (20:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 6 in B minor, Op. 74 \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Adagio - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (19:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegro con grazia\u003cspan style=\"font-size: 12px;\"\u003e (8:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Allegro molto vivace\u003cspan style=\"font-size: 12px;\"\u003e (8:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Adagio lamentoso\u003cspan style=\"font-size: 12px;\"\u003e (10:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 67:29\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTchaikovsky\u003c\/b\u003e \u003cb\u003eRomeo \u0026amp; Juliet\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 16 January 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTchaikovsky\u003c\/b\u003e Symphony No. 6\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 30 January 1944\u003cbr\u003eLive broadcast concerts from RCA Studio 8H, Radio City, New York City\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 67:29\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI Wartime NBC Premières (1942-44) - PASC536\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003eWartime NBC Premières\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCOPLAND \u003c\/b\u003eShort Symphony (Symphony No. 2)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - quarter note = 144\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - half note = 44\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - quarter note = 144\u003cspan style=\"font-size: 12px;\"\u003e (6:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 9 January 1944 - US Première\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOHAUPT \u003c\/b\u003eConcerto for Orchestra based on Red Army Songs\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (8:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Vivace\u003cspan style=\"font-size: 12px;\"\u003e (6:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 19 December 1943 - World première\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eLAVALLE \u003c\/b\u003eSymphonic Rhumba\u003cspan style=\"font-size: 12px;\"\u003e (5:21)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 6 December 1942 - World première\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANSON \u003c\/b\u003eSymphony No. 4, 'Requiem', Op. 34\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1st mvt. - Kyrie: Andante inquieto\u003cspan style=\"font-size: 12px;\"\u003e (7:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2nd mvt. - Requiescat: Largo\u003cspan style=\"font-size: 12px;\"\u003e (4:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 3rd mvt. - Dies irae: Presto\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 4th mvt. - Lux aeterna: Largo pastorale\u003cspan style=\"font-size: 12px;\"\u003e (7:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 2 January 1944 - Radio première\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eAMFITHEATROF \u003c\/b\u003eDe profundis clamavi\u003cspan style=\"font-size: 12px;\"\u003e (19:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 20 February 1944 - World première\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eANTHEIL \u003c\/b\u003eSymphony No. 4, '1942', W.177\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Moderato - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (10:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Scherzo: Presto\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (8:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 13 February 1944 - World première\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Schoenberg Piano Concerto\u003cspan style=\"font-size: 12px;\"\u003e (0:25)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHOENBERG \u003c\/b\u003ePiano Concerto, Op. 42\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 1st mvt. - Andante\u003cspan style=\"font-size: 12px;\"\u003e (4:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 2nd mvt. - Molto allegro\u003cspan style=\"font-size: 12px;\"\u003e (2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 3rd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (6:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 4th mvt. - Giocoso (Moderato)\u003cspan style=\"font-size: 12px;\"\u003e (6:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 6 February 1944 - World première\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eAaron Copland\u003c\/b\u003e and \u003cb\u003eLeopold Stokowski\u003c\/b\u003e in 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2 hr 16:23\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegro ma non troppo, un poco maestoso\u003cspan style=\"font-size: 12px;\"\u003e (13:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Scherzo. Molto vivace - Presto\u003cspan style=\"font-size: 12px;\"\u003e (10:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Adagio molto e cantabile\u003cspan style=\"font-size: 12px;\"\u003e (15:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Presto - Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (24:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e RADIO Closing announcements\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAnne Brown.\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eWinifred Heidt.\u003c\/b\u003e contralto\u003cbr\u003e\u003cb\u003eWilliam Horne.\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eLawrence Whisonant.\u003c\/b\u003e bass\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Westminster Choir\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eCosmopolitan Opera House, New York City\u003cbr\u003eMovements 1-3 not broadcast\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLive broadcast recording, 11 November 1941\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 66:04\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e RADIO Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eHOLST \u003c\/b\u003eThe Planets Op. 32\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1. Mars, the Bringer of War\u003cspan style=\"font-size: 12px;\"\u003e (6:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2. Venus, the Bringer of Peace\u003cspan style=\"font-size: 12px;\"\u003e (8:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3. Mercury, the Winged Messenger\u003cspan style=\"font-size: 12px;\"\u003e (3:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4. Jupiter, the Bringer of Jollity\u003cspan style=\"font-size: 12px;\"\u003e (7:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 5. Saturn, the Bringer of Old Age\u003cspan style=\"font-size: 12px;\"\u003e (9:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 6. Uranus, the Magician\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 7. Neptune, the Mystic\u003cspan style=\"font-size: 12px;\"\u003e (10:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e \u003cb\u003eBUTTERWORTH \u003c\/b\u003eA Shropshire Lad\u003cspan style=\"font-size: 12px;\"\u003e (9:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Fantasia on Christmas Carols (orchestral version)\u003cspan style=\"font-size: 12px;\"\u003e (9:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHOLST The Planets\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast 14 February 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBUTTERWORTH A Shropshire Lad\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast 13 February 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS Carols Fantasia\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast 14 December 1943\u003cbr\u003eLive performances broadcast from Studio 8H, Radio City, New York\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:28\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e conducts French Music: \u003cb\u003eDebussy\u003c\/b\u003e, \u003cb\u003eMilhaud\u003c\/b\u003e, \u003cb\u003eRavel\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Introduction to The Engulfed Cathedral\u003cspan style=\"font-size: 12px;\"\u003e (0:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003e(arr. Stokowski) La cathédrale engloutie\u003cspan style=\"font-size: 12px;\"\u003e (7:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 13 February 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e RADIO Introduction to Prelude to the Afternoon of a Faun\u003cspan style=\"font-size: 12px;\"\u003e (0:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003cspan style=\"font-size: 12px;\"\u003e (11:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 9 January 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e RADIO Introduction to The Martyrdom of Saint Sebastian\u003cspan style=\"font-size: 12px;\"\u003e (0:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eLe martyre de saint Sébastien\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e I. La Cour des lys\u003cspan style=\"font-size: 12px;\"\u003e (4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e II. Danse extatique et Final du 1er Acte\u003cspan style=\"font-size: 12px;\"\u003e (7:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 28 March 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e RADIO Introduction to Milhaud Symphony No. 1\u003cspan style=\"font-size: 12px;\"\u003e (0:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eSymphony No. 1, Op. 210\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 1st mvt. - Pastoral. Modérément animé\u003cspan style=\"font-size: 12px;\"\u003e (5:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd mvt. - Très vif\u003cspan style=\"font-size: 12px;\"\u003e (3:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 3rd mvt. - Très modéré\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 4th mvt. - Final. Animé\u003cspan style=\"font-size: 12px;\"\u003e (5:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 21 March 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e RADIO Introduction to Night in Granada\u003cspan style=\"font-size: 12px;\"\u003e (0:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003e(arr. Stokowski) - Estampes - 2. La soirée dans Grenade\u003cspan style=\"font-size: 12px;\"\u003e (7:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e RADIO Introduction to Daphnis and Chloe\u003cspan style=\"font-size: 12px;\"\u003e (1:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No.2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e 1. Lever de jour\u003cspan style=\"font-size: 12px;\"\u003e (5:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e 2. Pantomime\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e 3. Danse générale\u003cspan style=\"font-size: 12px;\"\u003e (2:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e RADIO Final applause and conclusion\u003cspan style=\"font-size: 12px;\"\u003e (1:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 21 February 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:26\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Twentieth Century Symphonies\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHOVHANESS \u003c\/b\u003eSymphony No. 1, Op. 17, \"Exile\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Lament\u003cspan style=\"font-size: 12px;\"\u003e (7:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Conflict [original version]\u003cspan style=\"font-size: 12px;\"\u003e (3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Triumph\u003cspan style=\"font-size: 12px;\"\u003e (7:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 6 December 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eSymphony in C\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Moderato alla breve\u003cspan style=\"font-size: 12px;\"\u003e (9:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Larghetto concertante\u003cspan style=\"font-size: 12px;\"\u003e (7:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 4th mvt. - Largo; Tempo giusto, alla breve\u003cspan style=\"font-size: 12px;\"\u003e (7:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 21 February 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eSymphony in E flat major\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1st mvt. - Sehr lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2nd mvt. - Sehr langsam\u003cspan style=\"font-size: 12px;\"\u003e (9:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 3rd mvt. - Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (6:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 4th mvt. - Mäßig schnelle Halbe\u003cspan style=\"font-size: 12px;\"\u003e (8:48)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 28 February 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski with Alan Hovhaness in 1958\u003cbr\u003eLive broadcast concerts from NBC Studio 8H, Radio City, New York\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 76:42\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts \u003cb\u003eBeethoven\u003c\/b\u003e \u0026amp; \u003cb\u003eWagner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (11:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Scherzo. Allegro - Trio\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (8:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 26 December, 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6 in F major, Op. 68, 'Pastoral'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo\u003cspan style=\"font-size: 12px;\"\u003e (8:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd mvt. - Scene am Bach. Andante molto moto\u003cspan style=\"font-size: 12px;\"\u003e (15:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd mvt. - Lustiges Zusammensein der Landleute. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th mvt. - Gewitter. Sturm. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (10:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 24 March, 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Poco sostenuto - Vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (10:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Presto\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (7:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 22 November, 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde - Prelude and Liebestod\u003cspan style=\"font-size: 12px;\"\u003e (17:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 22 November, 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eParsifal\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Good Friday Spell\u003cspan style=\"font-size: 12px;\"\u003e (11:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Act 3: Symphonic Synthesis (Arr. Stokowski)\u003cspan style=\"font-size: 12px;\"\u003e (16:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCollegiate Choir\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 31 March, 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 32:37\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eCD1: 73:10\u003cbr\u003eCD2: 79:27\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Russian Music\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e STOKOWSKI Introduction to Firebird Suite\u003cspan style=\"font-size: 12px;\"\u003e (1:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Firebird - Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e I. Introduction\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e II. The Firebird and its Dance\u003cspan style=\"font-size: 12px;\"\u003e (1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e III. The Princesses' Round\u003cspan style=\"font-size: 12px;\"\u003e (5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e IV. Infernal Dance of King Kashchei\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e V. Lullaby\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e VI. Finale\u003cspan style=\"font-size: 12px;\"\u003e (2:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 7 April 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eSTRAVINSKY \u003c\/b\u003e(arr. Stokowski) Petrushka - Suite\u003cspan style=\"font-size: 12px;\"\u003e  (15:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e STOKOWSKI Introduction to Tchaikovsky Symphony No. 4\u003cspan style=\"font-size: 12px;\"\u003e (1:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 1st mvt. - Andante sostenuto - Moderato con anima\u003cspan style=\"font-size: 12px;\"\u003e (15:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 2nd mvt. - Andantino in modo di Canzona\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 3rd mvt. - Scherzo. Pizzicato ostinato. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 4th mvt. - Finale. Allegro con fuoco\u003cspan style=\"font-size: 12px;\"\u003e (9:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 25 November 1941*\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e STOKOWSKI Introduction to Russian Easter Overture\u003cspan style=\"font-size: 12px;\"\u003e (0:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Russian Easter Festival Overture, Op. 36\u003cspan style=\"font-size: 12px;\"\u003e (12:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 31 March 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e RADIO Introduction to Capriccio Espagnol\u003cspan style=\"font-size: 12px;\"\u003e (0:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Capriccio Espagnol, Op. 34\u003cspan style=\"font-size: 12px;\"\u003e (14:21)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e RADIO Introduction to Tchaikovsky Symphony No. 5\u003cspan style=\"font-size: 12px;\"\u003e (0:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st mvt. - Andante - Allegro con anima\u003cspan style=\"font-size: 12px;\"\u003e (14:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd mvt. - Andante cantabile con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (13:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd mvt. - Valse. Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (5:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4th mvt. - Finale. Andante maestoso - Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:25)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 29 November 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York\u003cbr\u003eexcept *Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 32: 06\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eCD1: 79:00 CD2: 73:06\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 3\u003cspan style=\"font-size: 12px;\"\u003e (1:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (9:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Andante\u003cspan style=\"font-size: 12px;\"\u003e (10:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Poco allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (8:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 4 November 1941\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 4\u003cspan style=\"font-size: 12px;\"\u003e (1:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 1st mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (10:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 2nd mvt. - Andante moderato\u003cspan style=\"font-size: 12px;\"\u003e (11:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 3rd mvt. - Allegro giocoso\u003cspan style=\"font-size: 12px;\"\u003e (5:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 4th mvt. - Allegro energico e passionato\u003cspan style=\"font-size: 12px;\"\u003e (9:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 18 November 1941\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eLive broadcast recordings from the Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 74:58\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e conducts \u003cb\u003eWagner\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eSiegfried Idyll\u003cspan style=\"font-size: 12px;\"\u003e (18:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 6 December 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Tristan und Isolde\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Love Music\u003cspan style=\"font-size: 12px;\"\u003e (22:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 28 February 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eLohengrin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (10:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Die Walküre\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Wotan's Farewell\u003cspan style=\"font-size: 12px;\"\u003e (13:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Magic Fire Music\u003cspan style=\"font-size: 12px;\"\u003e (4:48)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 69:07\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts 20th Century American Composers\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLAMAR STRINGFIELD\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eA Symphonic Patrol\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 7 April 1942\u003cbr\u003e\u003cb\u003eMORTON GOULD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSpirituals for String Choir and Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e I. Proclamation\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e II. Sermon\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e III. A Little Bit of Sin\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e IV. Protest\u003cspan style=\"font-size: 12px;\"\u003e (2:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e V. Jubilee\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 15 November 1942\u003cbr\u003e\u003cb\u003ePAUL CRESTON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eChant for 1942\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 26 December 1943\u003cbr\u003e\u003cb\u003eWILLIAM SCHUMAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003ePrayer, 1943\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 12 December 1943\u003cbr\u003e\u003cb\u003eROBERT KELLY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eAdirondack Suite - \u003c\/b\u003e\u003ci\u003eSunset Reflections\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (5:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 18 November 1941\u003cbr\u003e\u003cb\u003eVIRGIL THOMSON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Plow That Broke The Plains, Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (1:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Pastorale (Grass)\u003cspan style=\"font-size: 12px;\"\u003e (1:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Cattle\u003cspan style=\"font-size: 12px;\"\u003e (2:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Blues (Speculation)\u003cspan style=\"font-size: 12px;\"\u003e (2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Drought\u003cspan style=\"font-size: 12px;\"\u003e (1:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Devastation\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 16 January 1944\u003cbr\u003e\u003cb\u003eCARLTON COOLEY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cb\u003eEastbourne Sketches\u003c\/b\u003e - \u003ci\u003ePromenade\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 24 March 1942\u003cbr\u003e\u003cb\u003eROY HARRIS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cb\u003eFolk Rhythms of Today\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 19 December 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Morton Gould and Leopold Stokowski\u003cbr\u003eSpecial thanks to Edward Johnson and Adrien Strugeon\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:38\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBACH-STOKOWSKI\u003c\/b\u003e Symphonic Transcriptions\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eToccata and Fugue in D minor\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 12 December 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003ePrelude in E flat minor\u003c\/b\u003e (from \u003ci\u003eThe Well-Tempered Clavier,\u003c\/i\u003e Book 1)\u003cspan style=\"font-size: 12px;\"\u003e (7:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 4 November 1941\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eArioso \u003c\/b\u003e(Largo from \u003ci\u003eHarpsichord Concerto No. 5\u003c\/i\u003e in F minor)\u003cspan style=\"font-size: 12px;\"\u003e (8:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 25 November 1941\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003ePrelude on Ein Feste Burg\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 7 April 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eWir Glauben all' an Einen Gott\u003c\/b\u003e (Chorale-Prelude '\u003ci\u003eGiant Fugue\u003c\/i\u003e')\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eAdagio \u003c\/b\u003e(from \u003ci\u003eToccata, Adagio and Fugue in C minor\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (5:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 6 December 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eEs ist Vollbracht\u003c\/b\u003e (from the \u003ci\u003eSt. John Passion\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 28 March 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eChrist lag in Todesbanden\u003c\/b\u003e (\u003ci\u003eChorale-Prelude\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 12 December 1943\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003ePassacaglia and Fugue in C minor\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 27 February 1944\u003cbr\u003eBonus track:\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eSt. Matthew Passion\u003c\/b\u003e - Final Chorus\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\"\u003ci\u003eHere yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O Saviour blest\u003c\/i\u003e\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCollegiate Chorale\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast of 31 March 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003eSpecial thanks to \u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:11\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC629.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC629.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39288619335741,"sku":null,"price":256.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205527552334,"sku":null,"price":176.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205527585102,"sku":null,"price":144.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC629.jpg?v=1769529897"},{"product_id":"pabx035-cd","title":"STOKOWSKI The Pristine NBC Symphony Series (1941-1944) - PABX035 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"16 CDs only in plastic sleeve (+MP3)","offer_id":39288608456765,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC629_7b86bb17-c621-41ee-a0d0-2a8ff6a7547e.jpg?v=1657122658"},{"product_id":"pasc649","title":"HORENSTEIN conducts Mahler \u0026 Shostakovich (1952) - PASC649","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1952\u003cbr\u003eTotal duration: 2hr 11:52\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVienna Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC649.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This publication brings together two composers close to Jascha Horenstein’s\n    heart. His first known performance of Mahler’s Ninth Symphony took place\n    during a tour of Soviet Russia in April 1932. The tour took him to Moscow\n    for the local premiere of Mahler’s Fifth, and to Leningrad where he\n    conducted the Ninth for the first time. The concert in Moscow was attended\n    by Shostakovich and his friend Ivan Sollertinsky, Mahler’s first Russian\n    biographer, both of whom later joined Horenstein on the overnight train to\n    Leningrad for the Ninth. “I spent several hours in the dining car together\n    with Shostakovich and Sollertinsky discussing Mahler”, Horenstein told an\n    interviewer, “they attended my rehearsals and the concert of Mahler Nine\n    with the Leningrad Philharmonic.” According to Horenstein, by 1932\n    Shostakovich was already a devoted Mahlerian, an influence that later\n    became most evident in his Fifth Symphony of 1937 “which would not have\n    been possible without Mahler”, and an allegiance for which Horenstein took\n    some credit. “There is no doubt”, he said referring to his and Oskar\n    Fried’s championship of the cause in Russia, “that we influenced\n    Shostakovich through our performances of Mahler”, a declaration that adds\n    extra interest to the selection of items presented on this disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    There are several “firsts” associated with the present recordings from\n    April 1952. They were Horenstein’s first since 1929 and his first for Vox\n    Records, the label that so distinguished his career. It was also his first\n    post-war engagement with the Vienna Symphony, the orchestra with which he\n    had made his professional debut in 1922 but had not conducted since 1928, a\n    life-changing generation away. Also a first as far as is known, the\n    publication of Mahler’s Ninth was the first studio recording of the work to\n    be released commercially, and with almost no serious competition for\n    several years served as the entry point to the symphony, and to the\n    composer, for many of the post-war baby-boomer generation.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Horenstein’s broad, romantic view of the Ninth Symphony, a magisterial and\n    intensely emotional interpretation of the old-school type, is a synthesis\n    of expressive force and intellectual grasp. “One of the major recorded\n    Mahler Ninths”, opined the reviewer in \u003ci\u003eThe Gramophone \u003c\/i\u003esome forty years\n    after its first release, “a devastating, visionary statement, epic yet\n    intimate, that incorporates a deeply troubled first movement, a rustic\n\u003ci\u003e    Ländler\u003c\/i\u003e, a grimly emphatic \u003ci\u003eRondo Burleske\u003c\/i\u003e and a finale whose heartbreaking\n    fallibility not only transcends second-rate string playing but actually\n    seems nourished by it.” For another reviewer, in a comment that can be\n    taken as representative of a widely held opinion, the performance was “a\n    text-book example of how to conduct this symphony.” The recording, despite\n    its unsophisticated mono sound and some uncertain playing from an orchestra\n    still unfamiliar with Mahler’s idiom, has remained proudly and continuously\n    in the catalogues ever since its first release almost 70 years ago.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The same cannot be said of Shostakovich’s Fifth, recorded immediately\n    following the Mahler and only the second recording of that work to be\n    released commercially, which has largely disappeared from view, superseded\n    in public esteem by better played, better recorded and more extrovert\n    readings. The original Vox recording suffers from some of the same dry,\n    spotlit sonics and other technical defects as the Mahler, especially\n    noticeable in the muffled, sometimes inaudible sounds of the crucial\n    timpani and bass drum parts. These problems have been addressed and\n    partially resolved by the present restoration and do not seriously disturb\n    appreciation of a wonderful lucidity of line in the first movement, a\n    perfectly paced \u003ci\u003eScherzo\u003c\/i\u003e, an intensely moving slow movement and an energetic\n    but never hysterical finale.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eHORENSTEIN \u003c\/b\u003econduct \u003cb\u003eMahler\u003c\/b\u003e \u0026amp; \u003cb\u003eShostakovich\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9 in D major\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Andante comodo\u003cspan style=\"font-size: 12px;\"\u003e (29:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb\u003cspan style=\"font-size: 12px;\"\u003e (17:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Rondo-Burleske: Allegro assai. Sehr trotzig\u003cspan style=\"font-size: 12px;\"\u003e (13:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7-11 April, 1952\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 4th mvt. - Adagio. Sehr langsam und noch zurückhaltend\u003cspan style=\"font-size: 12px;\"\u003e (25:44)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Moderato - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (15:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (15:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (9:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16-17 April, 1952\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVienna Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jascha Horenstein taken in 1956\u003cbr\u003eSpecial thanks to Misha Horenstein for his notes, assistance and access to the Horenstein musical archives from which this release derives\u003cbr\u003eRecorded at Symphonia Studio, Vienna\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 11:52\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eCD1: 60:23 CD2: 71:29\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\/PASC649.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC649.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":39529090940989,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205524242766,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205524275534,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC649_bc523f60-1fea-4535-bac4-3f2f61bee3b2.jpg?v=1639113305"},{"product_id":"pasc649-cd","title":"HORENSTEIN conducts Mahler \u0026 Shostakovich (1952) - 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As soon as Artur understood that this was NBC's thinking, he sat down and wrote a long memorandum to David Sarnoff, president of Radio Corporation of America, NBC's parent company. In it he carefully detailed all the reasons why an orchestra so composed would never satisfy Toscanini. Such a conductor should not be asked \"to perform with a second-rate fiddle,\" Artur reasoned, and NBC's management agreed, but only after long detailed conversations was my husband given the carte blanche he required to fashion a first-rate instrument for his beloved Maestro.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSarnoff himself authorized Artur to build a new ensemble that would work on a permanent, year-round basis. He told my husband, finally, to engage the best musicians he could find anywhere, to offer whatever was wanted to tempt them to leave their permanent positions. Not much temptation was often required, however, since most players were then not only anxious to live in New York but also willing to play under Toscanini's direction even at going rates of pay.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eArtur was, of course, in his element. Probably due to a strain inherited from his father, Artur was a born Chief of Staff, a methodical organizer. In no time at all he was auditioning. Since he had led most of the orchestras in the United States, he knew precisely where to look. Also, Hitler had put a number of first-class players at Artur's disposal. In a matter of weeks he had heard everyone worth hearing and had begun to make his final selections.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eHalina Rodziński\u003c\/b\u003e, \u003ci\u003eOur Two Lives\u003c\/i\u003e (1976)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter four broadcasts of very varied repertoire, this fifth concert of the NBC Symphony Orchestra - the second of three to be conducted by Rodziński before Toscanini's first broadcast - was the first to indicate the possibility of themed concerts. Its all-Russian programming would be echoed five months later with Boult's all-English broadcast of 21 May 1938 (PASC626), and Rodziński himself would return at the start of the second season with another all-Russian programme almost exactly a year later. Toscanini himself would instead programme two single-composer broadcasts that first year - one concentrating on Beethoven, a second on Wagner.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt has already been remarkable to hear in our releases of the four preceding concerts just how well-prepared the NBC Symphony Orchestra was right from the beginning, and here we hear yet another superb example of this, with some thrilling music-making on display here. Once again the sound preserved from these 85-year-old broadcasts is astonishing in its fidelity and clarity of detail - a truly engaging and often exciting listening experience!\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 style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZIŃSKI \u003c\/b\u003eat the NBC Vol. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e\u003ci\u003eRomeo and Juliet\u003c\/i\u003e - Fantasy Overture\u003cspan style=\"font-size: 12px;\"\u003e (22:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eSTRAVINSKY \u003c\/b\u003e\u003ci\u003ePetrushka \u003c\/i\u003eSuite\u003cspan style=\"font-size: 12px;\"\u003e (19:22)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 1 in F minor, Op. 10\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Allegretto - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Lento\u003cspan style=\"font-size: 12px;\"\u003e (9:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 4th mvt. - Allegro molto - Lento - Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (12:07)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered in Ambient Stereo by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński and Arturo Toscanini\u003cbr\u003eBroadcast of 11 December, 1937 · Special thanks to Richard Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:02\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\/PASC655.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC655.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":39765968715837,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205523390798,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205523423566,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC655.jpg?v=1645766105"},{"product_id":"pasc655-cd","title":"RODZIŃSKI at the NBC Vol. 2: Tchaikovsky, Stravinsky, Shostakovich (1937) - PASC655 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205523358030,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC655_e2f9cb35-9880-4a53-8a5b-8f76af91901a.jpg?v=1658751971"},{"product_id":"pacm121","title":"QUINTETTO CHIGIANO Bloch \u0026 Shostakovich Piano Quintets (1951) - PACM121","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBLOCH \u003c\/b\u003ePiano Quintet No. 1\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003ePiano Quintet\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1951\u003cbr\u003eTotal duration: 64:11\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eQuintetto Chigiano:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRiccardo Brengola\u003c\/b\u003e \u0026amp; \u003cb\u003eMario Benvenuti\u003c\/b\u003e - violins\u003cbr\u003e\u003cb\u003eGiovanni Leone\u003c\/b\u003e - viola\u003cbr\u003e\u003cb\u003eLino Filippini\u003c\/b\u003e - cello\u003cbr\u003e\u003cb\u003eSergio Lorenzi\u003c\/b\u003e - piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM121.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e★\u003cb\u003eBLOCH\u003c\/b\u003e. Quintet for piano and strings. \u003ci\u003eQuintetto Chigiano\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Quintet, written in 1923, is apparently one of Bloch's favourite creations. And well might it be, for it is a work of great beauty and profundity, teeming with imaginative invention and original instrumental effects, and technically a masterpiece of organic development from two or three thematic cells which are first heard at the beginning and which run through the entire quintet. There are people who maintain that Bloch is an acquired taste, and who idly repeat the shallow remark that his music is all wailing and gnashing of teeth: may I recommend them to listen to the lyrical fervour of the mystical slow movement of this work, or the exultant fantasy of the finale?\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe previous recording by the Pro Arte and Casella was deleted some years ago, but that is not the only reason for welcoming this new issue. For this is a performance such as one dreams of—ensemble playing of the utmost perfection completely at the service of the music, following faithfully every subtlety indicated or implied by the composer; technically flawless, despite the enormous difficulties of intonation, rhythm, balance and ensemble; warmed by the sympathetic musicianship of this remarkable team; and excellently recorded. Masterly. This disc has come in time to be reckoned, in my estimation, \u003cem\u003eThe\u003c\/em\u003e Chamber Recording of 1951.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eL.S.\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1951\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e★\u003cb\u003eSHOSTAKOVITCH\u003c\/b\u003e. Piano Quintet, Op.57, \u003ci\u003eQuintetto Chigiano\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe LP repertory is not afraid of including major chamber works—even unusual ones—and it here has taken in one of the most satisfactory of modern piano quintets. The medium has no great vogue nowadays, possibly because of the unfortunate tendency of the nineteenth century to write for it in such a way as to make it sound like a badly scored - for small orchestra; but Shostakovich avoids the trap completely. The outstanding feature of the Quintet, technically, is the variety of resource of physical sound the composer draws from his players, while never asking more of any individual instrument than it can reasonably and effectively produce. There are extended passages for piano alone; for the string quartet alone; for one stringed instrument and the piano; for violin and \u003cem\u003epizzicato\u003c\/em\u003e 'cello alone; and constantly the piano is used in registers which \u003cem\u003eadd\u003c\/em\u003e to the string music—not merely reduplicate it.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis emphasis on the technical virtues of the music is not intended to be faint praise indicating its lack of serious content; that it has, too. Written in 1940, between the Sixth and Seventh (\u003cem\u003eLeningrad\u003c\/em\u003e) Symphonies, it covers much the same emotional ground as the orchestral works, while having no powerful \u003cem\u003eallegro\u003c\/em\u003e movement. It has, too, the symphonies' expanse; the first two movements form virtually an extended prelude and fugue, followed by a scherzo, a large \u003cem\u003eadagio\u003c\/em\u003e, and an \u003cem\u003eallegretto\u003c\/em\u003e finale that at the end becomes positively skittish.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePerformance and recording are both of the highest calibre. It is possible to get the strings sounding right without taking too much brilliance off the piano, and only once, at the climax of the slow movement, is there a feeling that not quite all the Sienese players’ intensity can be accommodated on the disc. The work once won a Stalin Prize of 100,000 roubles; but that should not dissuade readers from giving this highly successful recording of it full consideration for any personal prizes they may have to bestow.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eM.M.\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1952\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these exquisite recordings demonstrate not only the superb playing of the Quintetto Chigiano — whose recordings of Boccherini, Brahms and Franck quintets have long been available at Pristine — but also the expertise of Decca's recording engineers at the dawning of the tape-and-LP era of high fidelity professional and consumer audio. Nevertheless they are now 72 years old, and are showing their age - at least, they were, prior to these Ambient Stereo XR remasters, which serve very well in placing the listener back into the Decca studios of West Hampstead, all those years ago.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eQUINTETTO CHIGIANO\u003c\/b\u003e \u003cb\u003eBloch\u003c\/b\u003e \u0026amp; \u003cb\u003eShostakovich\u003c\/b\u003e Piano Quintets\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBLOCH\u003c\/b\u003e Piano Quintet No. 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Agitato\u003cspan style=\"font-size: 12px;\"\u003e (7:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Andante mistico\u003cspan style=\"font-size: 12px;\"\u003e (11:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Allegro energico\u003cspan style=\"font-size: 12px;\"\u003e (13:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27-29 March, 1951\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003ePiano Quintet in G minor, Op.57\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Prelude: Lento\u003cspan style=\"font-size: 12px;\"\u003e (4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Fugue: Adagio\u003cspan style=\"font-size: 12px;\"\u003e (9:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Scherzo: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 4th mvt. - Intermezzo: Lento\u003cspan style=\"font-size: 12px;\"\u003e (7:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 5th mvt. - Finale: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 \u0026amp; 24 October, 1951\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eQuintetto Chigiano\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRiccardo Brengola\u003c\/b\u003e \u0026amp; \u003cb\u003eMario Benvenuti \u003c\/b\u003e- violins\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGiovanni Leone\u003c\/b\u003e - viola\u003cbr\u003e\u003cb\u003eLino Filippini\u003c\/b\u003e - cello\u003cbr\u003e\u003cb\u003eSergio Lorenzi\u003c\/b\u003e - piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eFront cover artwork based on a photograph of Riccardo Brengola\u003cbr\u003eRecorded at Decca's West Hampstead Studios, London\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 64:11\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\/PACM121.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM121.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":46868183384398,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205515854158,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205515886926,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM121.jpg?v=1695117701"},{"product_id":"pacm121-cd","title":"QUINTETTO CHIGIANO Bloch \u0026 Shostakovich Piano Quintets (1951) - PACM121 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM121.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":46868143931726,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205515788622,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM121_42bd5187-ca59-4f73-9119-8c18ef7886ed.jpg?v=1710934253"},{"product_id":"pasc731","title":"RODZINSKI NBC 1938, Volume 1 (1938) - PASC731","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003eIbéria: El Corpus En Sevilla\u003cbr\u003e\u003cb\u003eBARBER \u003c\/b\u003eSymphony In One Movement\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l’après midi d’un faune\u003cbr\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra\u003cbr\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony no. 1\u003cbr\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eAncient Airs and Dances\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony no. 5\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eDie Meistersinger - excerpts\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1938\u003cbr\u003eTotal duration: 2hr 35:57\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eNBC Symphony Orchestra\u003cbr\u003econducted by \u003cb\u003eARTUR RODZIŃSKI\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC731.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:09)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture, Op. 62\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBARBER \u003c\/b\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (20:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Larghetto\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Gavotta\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th mvt. - Molto vivace\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003cspan style=\"font-size: 12px;\"\u003e (10:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1. Andante con variazioni\u003cspan style=\"font-size: 12px;\"\u003e (10:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2. Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 3. Romance\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 4. Rondo\u003cspan style=\"font-size: 12px;\"\u003e (8:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:48)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Moderato\u003cspan style=\"font-size: 12px;\"\u003e (10:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (9:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1. Balletto detto 'Il Conte Orlando' (Molinaro)\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2. Gagliarga (Galilei)\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3. Villanella (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4. Passo mezzo e Mascherada (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eALBÉNIZ \u003c\/b\u003eIbéria - 3. El Corpus en Sevilla\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eDie Meistersinger von Nürnberg: Prelude to Act III - Dance of the Apprentices - Finale\u003cspan style=\"font-size: 12px;\"\u003e (12:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eStudio 8H, NBC Radio City, New York\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 35:56\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\/PASC731.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC731.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":50595780493646,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205507858766,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205507891534,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC731_75ac08e7-bfb8-46d2-871a-91bddb4c741b.jpg?v=1734062406"},{"product_id":"pasc731-cd","title":"RODZINSKI NBC 1938, Volume 1 (1938) - 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Symphony, conducted by Artur\n    Rodziński. The Columbia Broadcasting System, which reportedly paid $10,000\n    for the privilege, broadcast the performance to an estimated 15,000,000\n    listeners. Other CBS broadcasts by transcription will carry the music to\n    Latin America, Europe and the Pacific in the near future.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe symphony, which lasted an hour and three minutes, was greeted by the\n    capacity audience with an ovation. There was an intermission speech … and a\n    message from Shostakovich to Dr. Rodziński was read. The message said in\n    part:\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\n\u003ci\u003e“In these days of ordeal and hardship—days of decisive battles —music, the\n    art we all love, is a means of friendship and understanding between our\n    great peoples, inspiring them in their heroic struggle against Nazi\n    barbarians for civilization and democracy. With a friendly handshake, I wish\n    you all luck and success.”\n\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOn the basis of a reading of the score made possible through the courtesy of\n    Am-Rus, also of the final rehearsals and the performance yesterday afternoon\n    by Dr. Rodziński and the Philharmonic- Symphony Orchestra, it can be said\n    that Shostakovich’s Eighth Symphony, on the occasion of its American\n    première, received a superb presentation. This interpretation neglected no\n    technical or expressive detail, and appeared to reveal every facet of the\n    composer’s thought. It is conceivable that the composer himself, had he been\n    present, might not have agreed to every tempo and nuance. This we cannot\n    know. But there is every reason to believe that this excellent performance\n    provides wholly authoritative data from which to gain a reliable impression\n    of the music and some conception of its value.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Eighth Symphony is not quite as long as the Seventh, which was first\n    performed in America by Toscanini and the NBC Symphony in July, 1942. In the\n    interval much has happened. The Seventh, called the “Leningrad” Symphony,\n    was composed in part in that city while it was under siege. Today Russia\n    lives and fights her heroic and exterminating battle against evil on her\n    borders, and Mr, Shostakovich’s latest symphony is as timely and as\n    synchronous with events as the one that preceded.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThus it is said that this Eighth is the second part of a prospective\n    symphonic trilogy; that the Seventh was the symphony of the invasion period;\n    that the Eighth is part retrospect of the catastrophic past, but also\n    foresight of a happier ¡land, healing its wounds and planning the future. A\n    third symphony, yet to be composed, is envisioned as a “Victory” symphony,\n    and there is little more doubt of that symphony taking form than there is of\n    the sure triumph of Russian arms.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe question is now not the purport, fairly evident, of the Eighth Symphony,\n    but the actual character of the music. It is logically less bellicose and\n    climactic than the Seventh…” \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e– \u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 3 April 1944\n\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After such a promising introduction, Olin Downes continued his article to\n    tear apart Shostakovich’s Eighth Symphony, with an analysis which really\n    doesn’t look to have stood the test of time well. With a good number of\n    music-lovers now regarding the Eighth as a favourite and possibly the best\n    of the composer’s entire symphonic output, one can only feel (if only a\n    little!) for the poor critic, forced to conjure up an immediate response to\n    a long and complex work with so very little time for study or contemplation.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThere appears to be some confusion abroad as to the work’s first performance\n    in the West – i.e. outside of the Soviet Union. A number of sources\n    attribute this not to Rodziński but instead to Koussevitzky. Yet the first\n    performances given by Koussevitzky and his Boston Symphony Orchestra took\n    place some three weeks later – and the first of the two was billed as the\n    “Boston Premiere” in the concert programme. This recording is indeed the\n    symphony’s concert première outside of the Soviet Union, and as before, the\n    radio networks had the money to pay the high fees demanded for scores from\n    Moscow, as they had in 1938 when Rodziński conducted the première of the\n    Fifth Symphony (PASC731).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy 1944 the conductor was working his magic with the New York Philharmonic,\n    and I’m delighted to report just how well-captured they were on the 78rpm\n    acetate discs which served as source material for this first ever release of\n    what was indeed an historic concert.\n\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 style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003e\u003cb\u003eShostakovich\u003c\/b\u003e: Symphony No. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:34)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 8 in C minor, Op. 65\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Adagio - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (29:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (7:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (6:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (7:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 5th mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (15:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Rodziński conducting in Carnegie Hall\u003cbr\u003eLive broadcast concert recording from Carnegie Hall, New York, Sunday, 2 April 1944.\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 66:05\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\/PASC736.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC736.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":51110004097358,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205507105102,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205507137870,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC736.jpg?v=1740052638"},{"product_id":"pasc736-cd","title":"RODZINSKI Shostakovich: Symphony No. 8 (Western Première, 1944) - 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The Prokofiev was recorded at Columbia’s 30th St. Studio in New York City on March 3, 1958, but still in mono at that point. Isaac Stern was in peak form at this juncture, and his playing is technically quite assured. That said, although interpretively he has a good feeling for the piece, he would deepen his interpretation in his 1963 stereo remake with Ormandy and the Philadelphia Orchestra. Of course, Stern and every other violinist faces the insupportable burden of following the nonpareil premiere version on disc from 1935 by Joseph Szigeti, Thomas Beecham, and the London Philharmonic, one of the most stupefyingly great recordings of any piece of music, ever. (No matter how many times I listen to that recording, there is a particular passage played by Szigeti at about 2:20 into the second movement where I always have to pick up my jaw from off the floor in dumbfounded amazement.) Very close behind Szigeti comes David Oistrakh, who left behind multiple great accounts, beginning with four studio recordings conducted first by Prokofiev himself (1938), followed by versions with Kondrashin (1953), Matačić (1954), and Rozhdestvensky (1968), plus live accounts with Kubelík (1947), Kondrashin (1963), Ernest Bour (1963), Temirkanov (1970), Kurt Sanderling (1971), Haitink (1972), and Stig Westerberg (1974). This recordings joins numerous good accounts on a second tier below Szigeti and Oistrakh. In short, this is a fine version, but paradoxically one to be acquired more to hear the masterful conducting of Mitropoulos, and the sonic enhancement provided by the XR remastering of Andrew Rose.\u003c\/p\u003e\n\u003cp\u003eMitropoulos recorded the Shostakovich 10th in the studio with the NYP on October 18, 1954, shortly after the work’s premiere in Leningrad under Evgeny Mravinsky on December 17, 1953. This live performance was given by the conductor and orchestra on tour in Athens, Greece a year after their recording session. As their respective timings indicate—20:52 3:47 10:28 13:02 (studio) vs. 20:46 3:35 11:39 13:16 (live)—the two performances are quite similar overall as interpretations, with just the third movement being slightly broader. Both are excellent renditions, with the trade-offs between them that one might expect: the studio account has more precise playing (ensemble gets pretty hairy throughout the whirlwind second movement and at the close of the finale in the live performance), while the live performance has more interpretive intensity. The recorded sound of the live performance is excellent: warmer, more spacious, and more resonant than the quite good studio recording (I hope that Andrew Rose will take a shot at refurbishing that as well in the future). This is my favorite symphony among all those composed after Mahler, and I’m very particular about its interpretation in the first movement. Specifically, in order to capture properly the portrayal of the inexorable, crushing brutality of the Stalin regime, an ideal performance has to take it at a basically uniform tempo, and time out between about 22 to 23 minutes. Mitropoulos goes just a bit too fast in the great, extended climax for my taste—my favorite performances are by Mravinsky (live 1976 on BMG) and Karajan (live 1969 on Melodiya)—but he is close enough to my ideal to make it into my pantheon. The studio account (Sony) is worth having as well, but if forced to choose between the two this live account takes the palm. This premiere release makes this disc a virtually necessary acquisition. Very highly recommended.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eFanfare\u003c\/i\u003e, Mar\/Apr 2026\u003c\/p\u003e\u003c\/section\u003e\n\u003chr\u003e\n\u003csection data-pristine-review=\"fanfare-783\"\u003e\u003cp\u003e\u003cstrong\u003eFanfare — Dominic Hartley\u003c\/strong\u003e\u003cbr\u003eIssue 50:1 (Sept\/Oct 2026) · \u003ca href=\"https:\/\/fanfarearchive.com\/articles\/atop\/50_1\/5012440.az_PROKOFIEV_Violin_Concerto_1.html\"\u003eRead the original review\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eAs it happens, I’m reviewing Pristine’s two recent Mitropoulos releases in reverse order, having already covered Francescatti’s Prokofiev Second and the 1952 Shostakovich Fifth in Fanfare 49:4. I mentioned this performance briefly in that review. Returning to it has been no hardship. If anything, a second pass has only deepened my conviction that this is one of the most thrilling discs of the year.\u003c\/p\u003e\n\u003cp\u003eNot for the first time, I find myself arriving at a recording after James A. Altena has had his say (also in Fanfare 49:4), and I want to underline two of his observations that resonated strongly with me. The first concerns the Shostakovich. I’m not sure I’ve ever heard a more intense account of the 10th, live or in the studio, and on those grounds alone the disc demands to be heard. Even Karajan’s celebrated Moscow performance on Melodiya doesn’t, for me, eclipse it. One can reasonably assume the Athens setting played its part in both the playing and the reception—Mitropoulos was returning to his native country at the height of his powers, and there is an unmistakable charge in the air from the first bar onward. I also agree that this live reading surpasses Mitropoulos’s own studio version, fine though that is.\u003c\/p\u003e\n\u003cp\u003eOn the Prokofiev I find myself more positive than my distinguished colleague. This is a very different Stern from the one some readers may be expecting, and it’s a reading quite distinct from the Szigeti and Oistrakh accounts. What sets it apart, I think, is the profoundly sympathetic accompaniment Stern receives from Mitropoulos and the New York Philharmonic—an orchestral partnership that listens, breathes, and shapes the music with him rather than simply supporting from behind. Stern’s lyricism is given room, his tone has space to bloom, and the result is a performance I really wouldn’t want to be without.\u003c\/p\u003e\n\u003cp\u003eAndrew Rose’s XR remastering is, as so often, unobtrusively effective in both works, allowing the Athens occasion in particular to register with all the immediacy one could hope for from a 1955 broadcast source. Dominic Hartley\u003c\/p\u003e\u003c\/section\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC748.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDimitri Mitropoulos's performance of Shostakovich's Symphony No. 10 with the New York Philharmonic in Athens on October 1, 1955, was both a musical and cultural landmark. Conducted in Athens's Orpheus Hall as part of the orchestra’s historic post-war European tour, the concert resonated deeply, not only due to the stature of the music but also because it marked a profoundly emotional homecoming for Mitropoulos himself, who served as musical director of the New York Philharmonic from 1949 to 1958.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eShostakovich's Tenth Symphony, completed shortly after Stalin's death in 1953, is renowned for its stark emotional intensity and complexity. Mitropoulos, famed for conducting entirely from memory and noted for his intensely physical approach, brought to this performance an unmistakable depth of expression. His interpretation reflected the tension, anguish, and tentative optimism embodied within Shostakovich's music. This symphony, with its brooding opening movement, vehement scherzo, reflective third movement, and ultimately triumphant finale, demanded a conductor capable of navigating profound emotional contrasts, a task perfectly suited to Mitropoulos’s temperament.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Greek conductor’s association with Shostakovich's Tenth was particularly apt; Mitropoulos’s own artistic personality mirrored the symphony's inner turmoil and eventual resolution. The Athens audience, aware of Mitropoulos's international acclaim and proud of his Greek heritage, responded enthusiastically to his emotionally charged leadership. The performance served as a symbolic moment of reconciliation and cultural rebuilding, occurring just a decade after the ravages of World War II and civil strife in Greece.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eCritical reception emphasized Mitropoulos’s remarkable ability to unify the orchestra into a cohesive, potent ensemble, highlighting the New York Philharmonic's capacity for nuanced expression. The emotional power of the symphony was intensified by the context: Mitropoulos’s return to his homeland was widely seen as a poignant reunion, infusing the performance with additional layers of meaning beyond the notes themselves.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePreserved in contemporary recordings, this interpretation remains a significant historical document, reflecting both the cultural importance of the event and Mitropoulos’s profound identification with Shostakovich's music. Today, this particular 1955 Athens concert performance is recognized not merely as a noteworthy musical event but as a compelling intersection of personal narrative, historical circumstance, and artistic excellence, capturing a conductor and orchestra at a moment of rare emotional and musical convergence.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn 1956, during his tenure as musical director, Mitropoulos recorded Prokofiev's Violin Concerto No. 1 with the New York Philharmonic, featuring the distinguished violinist Isaac Stern. Stern's performance, guided sensitively by Mitropoulos, is noted for its lyrical intensity, precise articulation, and richly expressive phrasing. The conductor's understanding of Prokofiev’s uniquely evocative orchestration and melodic textures complemented Stern’s virtuosity, creating a recording that remains highly regarded for its emotional depth and technical 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 style=\"font-size: 24px;\"\u003e\u003cb\u003eMITROPOULOS \u003c\/b\u003econducts \u003cb\u003eShostakovich\u003c\/b\u003e \u0026amp; \u003cb\u003eProkofiev\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 1 in D major, Op. 19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt - Andantino\u003cspan style=\"font-size: 12px;\"\u003e (8:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt - Scherzo. Vivacissimo\u003cspan style=\"font-size: 12px;\"\u003e (3:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt - Moderato. Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (7:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 February 1956, Columbia 30th Street Studios, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIsaac Stern\u003c\/b\u003e, violin\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 10 in E minor, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Moderato\u003cspan style=\"font-size: 12px;\"\u003e (20:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Allegro - Largo - Più mosso\u003cspan style=\"font-size: 12px;\"\u003e (11:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 4th mvt. - Andante - Allegro - L'istesso tempo\u003cspan style=\"font-size: 12px;\"\u003e (13:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live on 2 October 1955, Orpheus Hall, Athens, Greece\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Mitropoulos\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 69:57\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\/PASC748.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC748.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":53095065190734,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205504909646,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205504942414,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC748_2570f501-3004-4a3f-a42c-bf0e5abe01ce.jpg?v=1763114006"},{"product_id":"pasc748-cd","title":"MITROPOULOS conducts Shostakovich \u0026 Prokofiev (1955\/56) - 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Though very different in style and emotional climate, Prokofiev’s \u003cem\u003eViolin Concerto No. 2 in G minor\u003c\/em\u003e and Shostakovich’s \u003cem\u003eSymphony No. 5 in D minor\u003c\/em\u003e share a sense of tension between private feeling and public utterance — a conflict Mitropoulos was uniquely able to reveal.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy 1952, Mitropoulos was in his fourth season as the orchestra’s music director, a post he had assumed in 1949 following a distinguished decade with the Minneapolis Symphony. His conducting combined fierce intellectual clarity with an almost mystical intensity of expression. A devout man with little concern for worldly display, he threw himself wholly into the music, conducting without baton and often without a score. Critics sometimes found his approach overwhelming; musicians, while challenged, often spoke of the profound sense of involvement he drew from them. Columbia Records, meanwhile, was keen to document his work in both the concert hall and the studio, making the present recordings valuable documents of his New York tenure.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eProkofiev: Violin Concerto No. 2 in G minor, Op. 63\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eZino Francescatti, violin — recorded 27 October 1952\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eProkofiev’s \u003cem\u003eSecond Violin Concerto\u003c\/em\u003e dates from 1935, a period of stylistic consolidation just before his final return to Soviet Russia. In contrast to the glittering modernism of his \u003cem\u003eFirst Concerto\u003c\/em\u003e and the ironic brilliance of the \u003cem\u003eClassical Symphony\u003c\/em\u003e, the \u003cem\u003eSecond\u003c\/em\u003e reveals a new lyricism and warmth — a neoclassical clarity tinged with wistfulness. Its themes are simple but haunting, its orchestration transparent, its harmonies tinged with a bittersweet ambiguity that would colour much of Prokofiev’s later work.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eZino Francescatti was one of the most refined violinists of his generation, admired for the silken beauty of his tone and the effortless grace of his phrasing. His collaboration here with Mitropoulos is a meeting of two strong musical personalities perfectly attuned to the work’s contrasting moods. The opening movement’s restless oscillation between melancholy and animation is shaped with a keen sense of line and structure. Francescatti’s playing combines elegance with steel, the cadenza integrated seamlessly into the musical argument.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the central Andante assai, one of Prokofiev’s most memorable slow movements, the soloist’s lyrical eloquence finds an ideal partner in Mitropoulos’s sensitive support — the orchestral textures finely balanced, the phrases breathing with unforced naturalness. The finale, with its rhythmic drive and hints of Spanish colour (the concerto was composed for the Franco-Belgian violinist Robert Soetens, and premiered in Madrid), is propelled with irresistible energy. Francescatti’s virtuosity remains poised and crystalline even in the most fiery passages, while Mitropoulos ensures that the orchestral motor never loses its taut precision.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe result is a reading that stands among the most distinguished of its era — less flamboyant than Heifetz’s, less impetuous than Oistrakh’s, but possessed of a Gallic refinement and musical intelligence that reveal new facets of Prokofiev’s artistry.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eShostakovich: Symphony No. 5 in D minor, Op. 47\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eRecorded 1 December 1952\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIf Prokofiev’s concerto suggests an artist reconciling personal expression with public expectation, Shostakovich’s \u003cem\u003eFifth Symphony\u003c\/em\u003e represents that struggle on an epic scale. Written in 1937 in the shadow of official condemnation for his opera \u003cem\u003eLady Macbeth of Mtsensk\u003c\/em\u003e, the symphony was presented as “a Soviet artist’s creative reply to just criticism”. Yet its apparent compliance with socialist-realist ideals — the triumphal finale, the clear tonal framework — conceals a far deeper and more tragic narrative. Beneath the outward heroism lies a sense of anguish and ironic defiance that has continued to provoke debate for decades.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMitropoulos was one of the first Western conductors to grasp the symphony’s dual nature. His performances, whether in New York, Minneapolis or abroad, were renowned for their visceral intensity and moral conviction. The 1952 recording presented here — made just four years after his famous Carnegie Hall account that electrified American audiences — captures that fervour in concentrated form.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFrom the opening’s jagged ostinato and bleakly rising string lines, the music unfolds with grim inevitability. Mitropoulos emphasises the symphony’s architectural cohesion, binding its four movements into a single arc of tension and release. The scherzo’s sardonic waltz rhythms bite sharply, yet are never caricatured; the Largo that follows is profoundly moving, the conductor drawing an almost vocal quality from the strings and woodwinds.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe finale’s march to “victory” is delivered with blazing intensity, but Mitropoulos resists empty bombast. His tempo broadens at the close, revealing not triumph but exhaustion — a shattering vision of forced jubilation that anticipates later readings by Bernstein and Mravinsky. The Philharmonic-Symphony Orchestra plays magnificently throughout, its brass section resplendent, its strings united in passionate unanimity.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eLegacy\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEarlier this year Pristine Classical marked the fiftieth anniversary of Shostakovich’s death with Mitropoulos’s live 1955 Athens performance of the \u003cem\u003eTenth Symphony\u003c\/em\u003e, and coupled it with his 1956 studio recording of Prokofiev’s \u003cem\u003eFirst Violin Concerto\u003c\/em\u003e featuring Isaac Stern (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc748\"\u003ePASC 748\u003c\/a\u003e). Together with the present release, these recordings trace a compelling thread through the conductor’s repertoire: his empathy with twentieth-century Russian music, his refusal to simplify its emotional complexity, and his ability to communicate its drama with unflinching honesty.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMitropoulos’s 1952 studio sessions remind us why he was revered by musicians and audiences alike — a conductor of burning conviction, fearless intellect, and boundless humanity.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eMITROPOULOS \u003c\/b\u003econducts \u003cb\u003eProkofiev\u003c\/b\u003e \u0026amp; \u003cb\u003eShostakovich\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 2 in G minor, Op. 63\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (10:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Andante assai\u003cspan style=\"font-size: 12px;\"\u003e (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Allegro ben marcato\u003cspan style=\"font-size: 12px;\"\u003e (6:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 October, 1952\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eZino Francescatti\u003c\/b\u003e, violin\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Allegro con fuoco\u003cspan style=\"font-size: 12px;\"\u003e (16:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Grave\u003cspan style=\"font-size: 12px;\"\u003e (5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Intermezzo\u003cspan style=\"font-size: 12px;\"\u003e (14:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 4th mvt. - Finale (Allegro molto)\u003cspan style=\"font-size: 12px;\"\u003e (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 December, 1952\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eDmitri Mitropoulos\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Mitropoulos\u003cbr\u003eRecorded at Columbia 30th Street Studios, New York City\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 70:53\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\/PASC754.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC754.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":54977131348302,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205503795534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205503828302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC754_6ccc547a-e278-4d83-8520-9bc132c5f6ed.jpg?v=1762266935"},{"product_id":"pasc754-cd","title":"MITROPOULOS conducts Prokofiev \u0026 Shostakovich (1952) - 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El Corpus en Sevilla\u003cbr\u003e\u003cb\u003eBACH\u003c\/b\u003e Toccata \u0026amp; Fugue in D minor\u003cbr\u003e\u003cb\u003eBACH\u003c\/b\u003e Two Chorales\u003cbr\u003e\u003cb\u003eBARBER\u003c\/b\u003e Symphony in One Movement\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Quartet No. 1\u003cbr\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Prélude à l'après-midi d'un faune\u003cbr\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nuages \u0026amp; Fêtes\u003cbr\u003e\u003cb\u003eDOHNÁNYI\u003c\/b\u003e Suite for Orchestra\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Symphony No. 8\u003cbr\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Ludmila - Overture\u003cbr\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Mathis der Maler Symphony\u003cbr\u003e\u003cb\u003eHUMPERDINCK\u003c\/b\u003e Hänsel und Gretel - Prelude\u003cbr\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e Symphony No. 1\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Pavane pour une infante défunte\u003cbr\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e Ancient Airs and Dances\u003cbr\u003e\u003cb\u003eSCHREKER\u003c\/b\u003e Der Geburtstag der Infantin\u003cbr\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e Symphony No. 3\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\u003cb\u003eSTAROKADOMSKY\u003c\/b\u003e Concerto for Orchestra\u003cbr\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Die Fledermaus - Overture\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Tales from the Vienna Woods\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also sprach Zarathustra\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Rosenkavalier Waltzes\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5\u003cbr\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e Concerto in D minor\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger - excerpts\u003cbr\u003e\u003cb\u003eWEBER\u003c\/b\u003e Oberon - Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eBroadcast recordings, 1938\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC767.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Artur Rodziński was engaged by NBC to recruit, rehearse and generally\n    prepare the NBC Symphony Orchestra for the eventual arrival of Toscanini as\n    its primary conductor in the autumn of 1937. Although he had conducted a\n    ‘pilot’ broadcast on 2 November 1937, the first official broadcasts were\n    taken by Pierre Monteux, beginning 13 November 1937. Thereafter Rodziński\n    conducted a further three broadcasts immediately prior to Toscanini’s debut\n    on Christmas Day, 1937.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After Toscanini’s NBC first concert season was completed, on 5 March 1938,\n    the orchestral concerts continued to be broadcast with a series of guest\n    conductors, including Monteux, Boult, Mitropoulos, Molinari, Howard Hanson\n    and, for three further engagements, Rodziński. In total, Rodziński conducted\n    the orchestra for seven concerts in 1938 – four more were scheduled in\n    December of that year during the orchestra’s second season, culminating in\n    his final performance of the year on New Year’s Eve.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release brings you the first two Rodziński NBC concerts of 1938,\n    broadcast live on 2 and 9 April 1938 from NBC’s Studio 8H, each scheduled to\n    run for 90 minutes, and each offering a pretty packed programme – so much so\n    that you may just make out the words of Milton Cross at the beginning of the\n    final item on disc two, excerpts from Wagner’s Die Meistersinger, which were\n    still being announced when the orchestra began playing, no doubt starting to\n    a carefully worked-out timing schedule.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Rodziński’s second broadcast of the year brought with it a real coup – for\n    the conductor, the orchestra, the NBC and indeed the nation: Shostakovich’s\n    Fifth Symphony. Premièred in Leningrad in November 1937 and played elsewhere\n    within the Soviet Union, and after the debacle of the composer’s Fourth\n    Symphony, withdrawn at the last minute under intense political pressure,\n    there was no shortage of orchestras and conductors wishing to take up and\n    première the new work outside of the country.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    As Halina Rodziński, the conductor’s wife, would later recall in her\n    memoirs: “Artur, thanks to his good connections with the composer, was\n    awarded the prize. NBC's John Royal, through the American ambassador in\n    Moscow, made the arrangements - at a huge price. The Soviet government\n    demanded the then unheard of sum of $5,000 for the premiere. Since\n    introducing the piece would be as much of a coup for the radio network as\n    for Artur, NBC's management did not object to the cost.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After all the expense and effort in acquiring the score and parts, Artur was\n    a bit concerned the piece might not be all that was expected of it. His\n    reactions when he first examined it were far from favorable. There was a\n    coarseness to the sound of the scoring. The piece seemed overlong. Indeed,\n    Artur was not altogether sure he cared for it. In discussion with NBC, it\n    was decided to perform the work just as it had been delivered - without\n    cuts, without reservations. If the critics did not care for it, no one could\n    blame Rodziński.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Gradually, in rehearsals, the work began to take Artur's imagination, and\n    soon enough he even was in love with it. The piece entered his repertoire\n    and became one of his specialties.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mrs. Rodziński’s memory here fails her somewhat. The version heard on 9\n    April, 1938, as revealed in this recording, was far from the complete work,\n    with substantial cuts that  reduced the symphony from about fifty minutes in\n    duration to a little over thirty. Nevertheless, the new work made a\n    favourable impression, and would go on to become one of Shostakovich’s most\n    played symphonies.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Whilst the present Shostakovich performance has been referred to in various\n    texts and discussions over the years, we believe this is the first time any\n    of these recordings have been made publicly available (it is interesting to\n    note that the recordings reveal several errors in Mortimer H. Frank’s\n    reference work charting the Toscanini’s career with the NBC orchestra,\n    suggesting he had not had access to them). Because of the length of the\n    broadcasts, once again I have been forced to cut announcements and other\n    speech content in order to fit each one onto a single Compact Disc. Sound\n    quality of these exceptionally rare discs, although generally good for their\n    age, is not uniformly perfect; at times the listener will have to make some\n    accommodations for slightly damaged sections, though I’m relieved to report\n    that the concerts themselves survive intact.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003eArtur Rodziński, one of the best program makers who has conducted this season at the symphony concerts in Radio City, led the NBC Symphony Orchestra last night in a program of which the principal feature was the tone poem of Richard Strauss, after Nietzsche, “Also sprach Zarathustra”.\u003cbr\u003e\u003cbr\u003eThe performance was one of exceptional brilliancy and one that displayed to very marked advantage the virtuosity of the orchestra. Aside from its interpretive merits, it may be said that a presentation of this music which displays so much certainty and such high technical quality is rare. Add to this the authority and the fire of the reading.\u003cbr\u003e\u003cbr\u003e“Zarathustra” is anything but a simple score to interpret. The conductor’s handicap from the aspect of concert effect is the faint and enigmatical conclusion. This can so easily become anti-climax, to say nothing of the mystifying effect of the strange harmonic scheme. But the audience responded last night to a work which formerly baffled the public with unstinted enthusiasm.\u003cbr\u003e\u003cbr\u003eAnd this is noteworthy: the music triumphed in the complete absence of any programmatic explanation. Explanatory paragraphs would have been wholly in order. Strauss himself affixed lines from Nietzsche's poem to his score. The audience deserves a program note when this work is played.\u003cbr\u003e\u003cbr\u003eThis does not lessen the music, but it can greatly conduce to a listener’s appreciation of the composer’s intention, if he knows, for example, that the magnificent introduction, which made Philip Hale think of “the portals of eternity swinging slowly asunder,” is Strauss’s evocation of the sunrise; that the pathetic and mystical passages immediately following, and the great hymn passionately intoned by organ and orchestra, is reference to religion upon which man pinned his faith; that the climax of frantic rejoicing while the great bell tolls in the orchestra is the song of Nietzsche’s victorious Over-man; and that the ending, in two keys, with the theme of Nature heard in the plucked basses, and the theme of the Ideal, like receding stars, soaring aloft, is Strauss’s comment upon the unsolvable riddle of the universe.\u003cbr\u003e\u003cbr\u003eBut the music made its mark and greatly moved the audience. It would have been still more imposing for those personally present if the performance had taken place in an auditorium with better acoustics than those of Studio H-8, which deadens sound and lessens the sonority of an orchestra. The effect of breadth as well as sheer body and brilliancy of sound in this place is thus modified, and blazing sonorities are part of the very conception of this score. But the effect was on the whole so adequate and eloquent that it would be captious to fuss over details. “Zarathustra” has waited longest of all Strauss’s tone-poems to come into its own. The sum of this occasion was a performances which carried it convincingly and in a very exciting way to the public.\u003cbr\u003e\u003cbr\u003eThe concert opened with the excellent Wertheim’s version of the Bach D minor Toccata and Fugue, a sonorous and effective performance of a masterpiece of universal meaning. After Strauss came the charming concert suite that Schrecker arranged from his ballet, “The Birthday of the Infanta.” It is not wildly modern music, nor highly original, but it is pleasing and admirably orchestrated material, put together with skill and taste by an expert craftsman.\u003cbr\u003e\u003cbr\u003eOther delightful music, more original than Schrecker’s, and destined to live much longer, completed the program and delighted the audience. The reference is to the overture to “Fledermaus” and the waltz “Tales From the Vienna Woods,” by Johann Strauss. He also could write music.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 17 April 1938\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eThe first of these two concert broadcasts was longer than usual, and the only way to fit it onto a CD was to lose one of the pieces. With the Glinka overture too short to make the difference, after much thought we decided that a forgotten work by a pretty much forgotten composer, \u003cb\u003eStarokadomsky’s Concerto for Orchestra\u003c\/b\u003e, would be cut from the CD release. This work is present in all download versions of this release, and all CD buyers receive a download link to the recording in MP3 versions should they wish to hear the missing concerto.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn December 1938 Artur Rodziński and the NBC Symphony Orchestra offered American radio audiences two exceptional programmes from Studio 8H in Radio City, separated by a single week but strikingly different in their musical terrain. Still early in the orchestra’s life, these broadcasts reveal an ensemble of formidable discipline and tonal punch, and a conductor whose flair for programming was matched by his ability to coax high-voltage playing from musicians already performing at the top of their game. Preserved on remarkably fine acetate discs and newly restored in Pristine’s XR and Ambient Stereo process, these concerts now emerge with a clarity, warmth and spatial naturalness that Studio 8H’s famously desiccated acoustic rarely allowed at the time.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The 10 December 1938 broadcast opened with Glinka’s evergreen \u003cem\u003eRuslan and Lyudmila\u003c\/em\u003e Overture. Contemporary reviews singled out its sparkling character and the orchestra’s brilliance, noting that despite the modest studio acoustics the execution was consistently impressive. Under Rodziński the overture becomes a showcase of tensile rhythmic drive and peerless ensemble precision. The NBC strings, already one of the most agile sections in the country, dispatch Glinka’s perpetual-motion writing with an ease that belies the difficulty of the music.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The centrepiece of that first broadcast was Tchaikovsky’s \u003cem\u003eSymphony No. 5\u003c\/em\u003e, a Rodziński speciality. Critics at the time praised his command of Tchaikovsky’s long spans and the orchestra’s powerful response, particularly in the sweeping finale. Rodziński shapes the symphony without indulgence: the opening motto is sombre yet flexible, the slow movement’s horn solo emerges with poised lyricism, the waltz glides without heaviness, and the finale surges with tightly controlled energy. These players may have been assembled for Toscanini, but in Rodziński they found a conductor who drew from them a comparable mixture of discipline and white-hot emotional commitment.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    That programme also included the American broadcast premiere of Mikhail Starokadomsky’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e, a 1933 work by a now little-known pupil of Myaskovsky. The score was described at the time as competently crafted and orchestrated with skill, even if its idiom owed more to Germanic symphonic practice than to the more modernistic Russian school. While the work’s historical footprint is small, its presence in this broadcast testifies to Rodziński’s willingness to present new Soviet repertoire to American listeners at a moment when few conductors were venturing far beyond the established Russian canon. Although too long to fit our CD programme, it is included complete in the download edition.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The concert closed with Stravinsky’s \u003cem\u003eFirebird\u003c\/em\u003e Suite, which listeners reported as having considerably enlivened the atmosphere despite the dryness of the broadcast studio. Rodziński’s performance is taut, colourful and intensely dramatic, the NBC brass and percussion delivering Stravinsky’s climaxes with thrilling impact. Even in the early years of high-fidelity broadcasting, the sheer blaze of this performance must have made a vivid impression on listeners.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    A week later, on 17 December 1938, Rodziński returned to Studio 8H with an entirely new programme, later reviewed in the New York Times’ “Other Music” column. The broadcast opened with Dvořák’s Symphony No. 4 — the work now recognised as his Eighth — already a favourite in the concert hall by that time. The critic praised the NBC Symphony’s “strong, clear and brilliant” playing, noting especially the finely balanced winds and the orchestra’s rhythmic vitality in a score whose pastoral lyricism can so easily turn heavy-handed. Rodziński gives the symphony a firm architectural profile, shaping its buoyant themes with affection but without sentimentality.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Hindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony followed, a bold choice in 1938 when the composer was at the centre of cultural controversy in Europe. Reviews highlighted the NBC Symphony’s splendid discipline and the work’s vivid colour and firm structure under Rodziński, whose affinity for Hindemith’s muscular counterpoint is audible throughout. Far from the austerity sometimes associated with the composer, Rodziński finds warmth and expressive breadth in the score, especially in the luminous “Engelkonzert” movement.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The second broadcast concluded with Richard Strauss’s \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, played with élan, razor-sharp precision and a wicked sense of humour. Contemporary accounts praised the performance’s personality and momentum, noting the orchestra’s quick responsiveness to Rodziński’s characterisation of Strauss’s mercurial antihero.\n  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    For these restorations Pristine has employed its XR remastering and Ambient Stereo techniques to address the inherent limitations of Studio 8H’s bone-dry acoustics. Wow and flutter have been eliminated, tonal edges softened, and a sympathetic convolution reverb drawn from one of the world’s finest symphonic halls has been added to restore a sense of breadth and natural resonance. The result is a pair of broadcasts that emerge with new presence and musical richness, preserving the sound of a great orchestra under an electrifying conductor at a pivotal moment in American radio history.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy the late 1930s the National Broadcasting Company had created something unprecedented in American musical life: a full-time symphony orchestra assembled specifically for radio. The NBC Symphony Orchestra was formed in 1937 primarily for the broadcasts of Arturo Toscanini, but before Toscanini’s first appearance on Christmas Day of that year the orchestra needed to be tested, disciplined and moulded into a working ensemble. That crucial preparatory work fell largely to the Polish conductor Artur Rodziński.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRodziński had already established a formidable reputation in the United States through his transformative leadership of the Cleveland Orchestra. NBC engaged him first for a trial broadcast in November 1937, followed by three concerts in December that effectively served as the orchestra’s public dress rehearsal before Toscanini assumed the podium. Rodziński returned to conduct further NBC Symphony broadcasts in April 1938 and again in December of the same year. The present recordings preserve the last two of four concerts he conducted on consecutive weekends that December.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese broadcasts therefore represent the closing chapter of Rodziński’s brief but significant association with the NBC Symphony Orchestra. The New Year’s Eve programme heard here would prove to be the final concert he conducted with the ensemble.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Christmas Eve broadcast opens atmospherically with the Prelude to Humperdinck’s \u003cem\u003eHänsel und Gretel\u003c\/em\u003e, music whose luminous orchestral writing made it a favourite seasonal curtain-raiser. From there Rodziński turns to Johann Sebastian Bach as orchestrated by Ottorino Respighi. Respighi’s Bach transcriptions were widely admired in the early twentieth century for their rich orchestral palette, and here two chorales from the set of \u003cem\u003eThree Chorales\u003c\/em\u003e were performed: \u003cem\u003eNun komm, der Heiden Heiland\u003c\/em\u003e and \u003cem\u003eWachet auf, ruft uns die Stimme\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe central work of the programme is Beethoven’s First Symphony, music that bridges the Classical world of Haydn and Mozart with the emerging individuality that would soon transform the symphonic form. Rodziński follows it with one of the most striking orchestral transformations of the twentieth century: Arnold Schoenberg’s orchestration of Brahms’s Piano Quartet in G minor. Schoenberg explained that one reason for making the arrangement was that he wanted to hear everything in Brahms’s densely written score more clearly than was possible in the original chamber version. The result is a dazzling re-imagining of the work in which Brahmsian architecture is expanded into a vibrant orchestral showpiece.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe New Year’s Eve broadcast presents an equally colourful programme. It begins with Alexander Siloti’s orchestral arrangement of a concerto from Antonio Vivaldi’s \u003cem\u003eL’estro armonico\u003c\/em\u003e. Siloti’s late-Romantic treatment of the Baroque original reflects the era’s fascination with adapting earlier music to the modern symphony orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFrom there Rodziński launches into Alexander Scriabin’s Third Symphony, \u003cem\u003eLe Divin Poème\u003c\/em\u003e, a vast mystical canvas whose ecstatic climaxes and shimmering orchestration stand at the threshold of musical modernism. Scriabin’s ecstatic vision is followed by a sequence of orchestral miniatures: Ravel’s nostalgic \u003cem\u003ePavane pour une infante défunte\u003c\/em\u003e and two movements from Debussy’s \u003cem\u003eNocturnes\u003c\/em\u003e, \u003cem\u003eNuages\u003c\/em\u003e and the exuberant \u003cem\u003eFêtes\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe concert concludes in celebratory fashion with the first waltz sequence from Richard Strauss’s \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e, music whose swirling Viennese rhythms provided a fitting close to a New Year’s Eve broadcast.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe original transmissions were introduced by NBC announcer Gene Hamilton. His commentary survives in full on the source recordings, but because the complete broadcasts run slightly longer than a standard compact disc allows, much of this material has been edited here in order to accommodate the music within a single CD. Short excerpts of Hamilton’s introductions to the Christmas Eve concert and his closing remarks at the end of the New Year’s Eve broadcast have been retained.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite their broadcast origins the surviving recordings are remarkable for their warmth, dynamic range and clarity. In these new XR remasterings the sound reveals impressive orchestral colour, with quiet surfaces and extended frequency range that allow Rodziński’s incisive conducting and the NBC Symphony Orchestra’s brilliance to emerge with striking immediacy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese final NBC broadcasts not only complete Rodziński’s recorded association with the orchestra but also offer a vivid glimpse of American orchestral broadcasting at the end of the 1930s.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eRODZINSKI NBC\u003c\/b\u003e 1938 Broadcasts Complete (1938)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eRODZINSKI NBC 1938, Volume 1 (1938) - PASC731\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:09)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture, Op. 62\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eBARBER \u003c\/b\u003eSymphony in One Movement, Op. 9\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (20:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eSymphony No. 1 in D major, Op. 25 , \"Classical\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Larghetto\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Gavotta\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th mvt. - Molto vivace\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eDEBUSSY \u003c\/b\u003ePrélude à l'après-midi d'un faune\u003cspan style=\"font-size: 12px;\"\u003e (10:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eSuite for Orchestra, Op. 19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1. Andante con variazioni\u003cspan style=\"font-size: 12px;\"\u003e (10:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2. Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 3. Romance\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 4. Rondo\u003cspan style=\"font-size: 12px;\"\u003e (8:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:48)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFirst performance outside the Soviet Union\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Moderato\u003cspan style=\"font-size: 12px;\"\u003e (10:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (9:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eAncient Airs and Dances, Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1. Balletto detto 'Il Conte Orlando' (Molinaro)\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2. Gagliarga (Galilei)\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3. Villanella (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4. Passo mezzo e Mascherada (Ignoto)\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eALBÉNIZ \u003c\/b\u003eIbéria - 3. El Corpus en Sevilla\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eDie Meistersinger von Nürnberg: Prelude to Act III - Dance of the Apprentices - Finale\u003cspan style=\"font-size: 12px;\"\u003e (12:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 2 \u0026amp; 9 April 1938\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eStudio 8H, NBC Radio City, New York\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 35:56\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eRODZINSKI NBC 1938, Volume 2 (1938) - PASC741\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Introduction\u003cspan style=\"font-size: 12px;\"\u003e (1:25)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e (arr. Wertheim) Toccata and Fugue in D minor, BWV 565\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Toccata\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Fugue\u003cspan style=\"font-size: 12px;\"\u003e (6:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also Sprach Zarathustra, Op. 30\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Einleitung\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Von den Hinterweltlern\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Von der grossen Sehnsucht\u003cspan style=\"font-size: 12px;\"\u003e (1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Von den Freuden-und Leidenschaften\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Das Grablied\u003cspan style=\"font-size: 12px;\"\u003e (2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Von der Wissenschaft\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Der Genesende\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Das Tanzlied\u003cspan style=\"font-size: 12px;\"\u003e (5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Nachtwandlerlied\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHREKER \u003c\/b\u003eDer Geburtstag der Infantin - Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 1. Reigen\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e 2. Aufzug und kampfspiel\u003cspan style=\"font-size: 12px;\"\u003e (2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e 3. Die Marionetten\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e 4. Minuett der Tanzerknaken\u003cspan style=\"font-size: 12px;\"\u003e (2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e 5. Die Tanze der Zwerges\u003cspan style=\"font-size: 12px;\"\u003e (0:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e 6. Mit der Wind im Fruhling\u003cspan style=\"font-size: 12px;\"\u003e (0:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e 7. In blauen Sandalen uber das korn\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e 8. Im roten Gewand im herbst\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e 9. Die Rose der Infatin\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cb\u003eJ STRAUSS II \u003c\/b\u003eDie Fledermaus - Overture\u003cspan style=\"font-size: 12px;\"\u003e (8:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cb\u003eJ STRAUSS II\u003c\/b\u003e Tales from the Vienna Woods\u003cspan style=\"font-size: 12px;\"\u003e (7:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recording, 16 April 1938, Studio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:31\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eRODZINSKI NBC 1938, Volume 3 (1938) - PASC760\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI \u003c\/b\u003eNBC 1938, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (75:27)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eRADIO \u003c\/b\u003eIntroduction\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eGLINKA \u003c\/b\u003eRuslan and Lyudmila - Overture\u003cspan style=\"font-size: 12px;\"\u003e (5:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E Minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Andante - Allegro con anima\u003cspan style=\"font-size: 12px;\"\u003e (14:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Andante cantabile con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (13:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Valse. Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th mvt. - Finale. Andante maestoso - Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTAROKADOMSKY \u003c\/b\u003eConcerto For Orchestra \u003ci\u003e[\u003c\/i\u003e\u003cb\u003e\u003ci\u003eDOWNLOADS ONLY\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e]\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e st mvt. - Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e nd mvt. - Passacaglia\u003cspan style=\"font-size: 12px;\"\u003e (8:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e rd mvt. - Toccata\u003cspan style=\"font-size: 12px;\"\u003e (6:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Firebird (Suite)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Dance of the Firebird\u003cspan style=\"font-size: 12px;\"\u003e (1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Dance of the Princesses\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e The Infernal Dance of King Kashchei\u003cspan style=\"font-size: 12px;\"\u003e (3:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Berceuse (Lullaby of the Firebird)\u003cspan style=\"font-size: 12px;\"\u003e (3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Finale\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (79:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eRADIO \u003c\/b\u003eIntroduction\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. No. 8 in G major, Op. 88\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (9:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Allegretto grazioso – Molto Vivace\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro ma non troppo\u003cspan style=\"font-size: 12px;\"\u003e (11:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHINDEMITH \u003c\/b\u003eMathis der Maler Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st mvt. - Engelkonzert\u003cspan style=\"font-size: 12px;\"\u003e (9:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd mvt. - Grablegung\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd mvt. - Versuchung des heiligen Antonius\u003cspan style=\"font-size: 12px;\"\u003e (13:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\u003cspan style=\"font-size: 12px;\"\u003e (14:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Rodziński\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 10 \u0026amp; 17 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 55:37 (CDs: 2hr 35:07)\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eRODZINSKI NBC 1938, Volume 4 (1938) - PASC767\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eRODZINSKI NBC 1938, Volume 4\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (79:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Introduction to Christmas Eve Program\u003cspan style=\"font-size: 12px;\"\u003e (0:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eHUMPERDINCK\u003c\/b\u003e Hänsel und Gretel - \u003ci\u003ePrelude\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e (arr. Respighi) Chorales from the \u003ci\u003eOrgelbüchlein\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Nun komm, der Heiden Heiland, BWV 659\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Wachet auf, ruft uns die Stimme, BWV 645\u003cspan style=\"font-size: 12px;\"\u003e (4:10)\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. 1 in C major, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st mvt. - Adagio molto - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (6:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd mvt. - Andante cantabile con moto\u003cspan style=\"font-size: 12px;\"\u003e (6:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd mvt. - Menuetto: Allegro molto e vivace\u003cspan style=\"font-size: 12px;\"\u003e (3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th mvt. - Finale: Adagio - Allegro molto e vivace\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e (arr. Schoenberg) Piano Quartet No. 1 in G minor, Op. 25\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (13:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd mvt. - Intermezzo: Allegro ma non troppo - Trio: Animato\u003cspan style=\"font-size: 12px;\"\u003e (8:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 3rd mvt. - Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 4th mvt. - Rondo alla zingarese: Presto\u003cspan style=\"font-size: 12px;\"\u003e (7:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVIVALDI\u003c\/b\u003e (arr. Siloti) Concerto in D minor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003efrom \u003ci\u003eL’estro armonico\u003c\/i\u003e, Op. 3 No. 11, RV 565\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Adagio e spiccato\u003cspan style=\"font-size: 12px;\"\u003e (4:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e Symphony No. 3 in C minor, Op. 43 - \u003ci\u003eLe Divin Poème\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Lutte\u003cspan style=\"font-size: 12px;\"\u003e (17:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Voluptés\u003cspan style=\"font-size: 12px;\"\u003e (8:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Jeu divin\u003cspan style=\"font-size: 12px;\"\u003e (9:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eRAVEL\u003c\/b\u003e Pavane pour une infante défunte\u003cspan style=\"font-size: 12px;\"\u003e (6:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Nocturnes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Nuages\u003cspan style=\"font-size: 12px;\"\u003e (8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Fêtes\u003cspan style=\"font-size: 12px;\"\u003e (6:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e\u003ci\u003eDer Rosenkavalier\u003c\/i\u003e Waltzes - First sequence\u003cspan style=\"font-size: 12px;\"\u003e (7:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e RADIO Conclusion to New Year's Eve Program\u003cspan style=\"font-size: 12px;\"\u003e (0:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by: Andrew Rose\u003cbr\u003eLive broadcast recordings, 24 \u0026amp; 31 December 1938\u003cbr\u003eStudio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Artur Rodziński\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 37:46\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABX049.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59122623021390,"sku":null,"price":128.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59122623054158,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59122623086926,"sku":null,"price":72.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049.jpg?v=1773402612"},{"product_id":"pabx049-cd","title":"RODZINSKI NBC 1938 Broadcasts Complete (1938) - PABX049 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":59122677711182,"sku":null,"price":122.0,"currency_code":"EUR","in_stock":true},{"title":"7 CDs only in plastic sleeve (+MP3)","offer_id":59122677743950,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX049_046dd574-d388-4286-b49d-d5716ba1605f.jpg?v=1773241339"},{"product_id":"pasc777","title":"STOKOWSKI The Russians (NBC SO, 1941-43) - PASC777","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e - three excerpts\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 6\u003cbr\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003eBoris Godunov\u003c\/i\u003e - Symphonic Synthesis\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18; \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003cbr\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, Op. 78\u003cbr\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive and broadcast recordings, New York, 1941-43\u003cbr\u003eTotal duration: 2hr 33:49\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJennie Tourel\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC777.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eLeopold Stokowski’s three seasons with the NBC Symphony Orchestra coincided with a moment when Russian music carried meanings far beyond the concert hall. Between 1941 and 1944 the United States and Soviet Union became uneasy wartime allies, Shostakovich’s \u003ci\u003eLeningrad\u003c\/i\u003e Symphony became an international symbol of resistance, and Prokofiev’s music for \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, conceived before the war, suddenly acquired a striking new relevance. Stokowski was ideally placed to exploit this repertoire. His enthusiasm for Russian music stretched back decades, while his championing of Shostakovich had already brought the Sixth Symphony its first performance outside the Soviet Union in Philadelphia in 1940.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eProkofiev’s \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e excerpts opened Stokowski’s NBC concert on 18 November 1941. Nine days later he would make a studio recording of the same three pieces, but this earlier performance has the freedom and electricity of live music-making. Reviewing its later issue, Jonathan Woolf found the NBC Symphony “superbly drilled”, while the March, taken at exhilarating speed, has a military brilliance entirely appropriate to Stokowski’s conception.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eShostakovich’s Sixth Symphony followed in the same session, continuing after the scheduled broadcast had ended. Its unusual design had puzzled audiences from the beginning: a long, introspective Largo followed by two increasingly extrovert movements, ending not in tragedy but in an almost manic Presto. Stokowski had been among its earliest and most determined advocates. At the 1940 American première, Virgil Thomson found the work “clear, obvious, effective, old-fashioned”, while Edwin Schloss heard in the finale “Comrade John Philip Sousa, in blouse and boots.” Stokowski himself was much more convinced, writing that repeated hearings revealed its “unusual expressive profundity”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOne week later, on 25 November 1941, another surviving continuous source carries the listener beyond the end of the scheduled NBC programme and into Stokowski’s Symphonic Synthesis from Mussorgsky’s \u003ci\u003eBoris Godunov\u003c\/i\u003e. Stokowski had long believed that orchestral adaptations could bring great dramatic music to audiences who might otherwise never encounter it. His \u003ci\u003eBoris\u003c\/i\u003e is no pot-pourri: it condenses the opera into six connected scenes, preserving its monastery bells, coronation splendour, dark processions and the death of the Tsar while dispensing with voices altogether. Modern opinion has been divided over such liberties, but Mark Swed in the \u003ci\u003eLos Angeles Times\u003c\/i\u003e described the work as “wonderfully thrill-seeking”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTchaikovsky provides the bridge between the two discs. \u003ci\u003eThe Storm\u003c\/i\u003e, broadcast on 29 November 1942, and \u003ci\u003eThe Tempest\u003c\/i\u003e, heard on 7 March 1943, are both youthful Shakespearean tone poems and both remained outside Stokowski’s commercial discography. That is surprising, for their surging climaxes, long-breathed melodies and opportunities for glowing orchestral colour might almost have been designed for him. Reviewing these NBC performances more than sixty years later, a \u003ci\u003eMusicWeb\u003c\/i\u003e critic found them “typically visceral and occasionally even wilful”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe centrepiece of the collection is Prokofiev’s \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, given its first American performance on 7 March 1943, with Jennie Tourel, the Westminster Choir and the NBC Symphony Orchestra. The cantata had grown from Prokofiev’s score for Sergei Eisenstein’s 1938 film depicting the medieval Russian defeat of the invading Teutonic Knights. By 1943 its scenes of invasion, devastation and resistance required little explanation. A surviving contemporary programme records that the \u003ci\u003eNew York Times\u003c\/i\u003e praised the work’s unusual dramatic force and its unavoidable resonance with the current war in Russia, calling it a “composition with a unique dramatic effect.” Prokofiev himself explained that, although he had rebuilt the music according to purely symphonic principles, something of Eisenstein’s visual world remained embedded in it.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJennie Tourel, born in the Russian Empire and later one of the outstanding mezzo-sopranos of her generation, was Stokowski’s soloist in the première. The engagement came at a decisive point in her American career; a few years later \u003ci\u003eTime\u003c\/i\u003e recalled that Stokowski had chosen her for \u003ci\u003eAlexander Nevsky\u003c\/i\u003e just as her reputation was beginning to take off.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe collection closes with another piece that Stokowski effectively made his own. His orchestration of Mussorgsky’s \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e was conceived in conscious contrast to Ravel’s famous transcription. Where Ravel favoured transparency and virtuoso brilliance, Stokowski sought darker sonorities, heavier basses, massed brass, percussion and eventually organ. His opening Promenade emerges from low strings and woodwind rather than trumpet, and he omitted \u003ci\u003eTuileries\u003c\/i\u003e and \u003ci\u003eThe Marketplace at Limoges\u003c\/i\u003e, believing their specifically French character out of place in the Russian sequence. Modern critics have variously called the result darker, more pungent and more Russian than Ravel; whatever one’s preference, the two versions inhabit remarkably different orchestral worlds.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese broadcasts therefore amount to more than a miscellaneous Russian anthology. They document Stokowski using one of America’s finest orchestras as both virtuoso instrument and experimental laboratory, revisiting music he had championed for years while introducing audiences to works they scarcely knew. Heard together, they also capture something particular to their moment: Russian music performed in wartime New York with an urgency that neither conductor nor audience could have regarded as merely historical.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e The Russians\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:48)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e - three excerpts\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Infernal Scene\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e The Prince and the Princess\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e March\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 6\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e I. Largo\u003cspan style=\"font-size: 12px;\"\u003e (16:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e II. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (6:03)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e III. Presto\u003cspan style=\"font-size: 12px;\"\u003e (7:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003eBoris Godunov\u003c\/i\u003e - Symphonic Synthesis\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Outside the Novodievichi Monastery\u003cspan style=\"font-size: 12px;\"\u003e (6:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Coronation of Boris\u003cspan style=\"font-size: 12px;\"\u003e (5:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Monks chanting in the Chudov Monastery\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Siege of Kazan\u003cspan style=\"font-size: 12px;\"\u003e (1:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Outside the Church of Saint Basil\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Death of Boris\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18\u003cspan style=\"font-size: 12px;\"\u003e (14:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 March 1943, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003cspan style=\"font-size: 12px;\"\u003e (10:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 November 1942, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, Op. 78\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Russia under the Mongol Yoke\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Song about Alexander Nevsky\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e The Crusaders in Pskov\u003cspan style=\"font-size: 12px;\"\u003e (7:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Arise, Russian People!\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e The Battle on the Ice\u003cspan style=\"font-size: 12px;\"\u003e (11:50)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e The Field of the Dead\u003cspan style=\"font-size: 12px;\"\u003e (6:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Alexander's Entry into Pskov\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003eJennie Tourel\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\n\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 March 1943, NBC Studio 8-H, Radio City, New York\u003cbr\u003eSung in English\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (2:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Gnomus\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (1:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Old Castle\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Bydło\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (0:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Ballet of the Unhatched Chicks\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Samuel Goldenberg and Schmuyle\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Catacombs\u003cspan style=\"font-size: 12px;\"\u003e (1:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Cum mortuis in lingua mortua\u003cspan style=\"font-size: 12px;\"\u003e (2:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e The Hut on Fowl's Legs (Baba-Yaga)\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e The Great Gate of Kiev\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 March 1943, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eProducer and XR remastering: \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 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Synthesis\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18; \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003cbr\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, Op. 78\u003cbr\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive and broadcast recordings, New York, 1941-43\u003cbr\u003eTotal duration: 2hr 33:49\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJennie Tourel\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC777.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eLeopold Stokowski’s three seasons with the NBC Symphony Orchestra coincided with a moment when Russian music carried meanings far beyond the concert hall. Between 1941 and 1944 the United States and Soviet Union became uneasy wartime allies, Shostakovich’s \u003ci\u003eLeningrad\u003c\/i\u003e Symphony became an international symbol of resistance, and Prokofiev’s music for \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, conceived before the war, suddenly acquired a striking new relevance. Stokowski was ideally placed to exploit this repertoire. His enthusiasm for Russian music stretched back decades, while his championing of Shostakovich had already brought the Sixth Symphony its first performance outside the Soviet Union in Philadelphia in 1940.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eProkofiev’s \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e excerpts opened Stokowski’s NBC concert on 18 November 1941. Nine days later he would make a studio recording of the same three pieces, but this earlier performance has the freedom and electricity of live music-making. Reviewing its later issue, Jonathan Woolf found the NBC Symphony “superbly drilled”, while the March, taken at exhilarating speed, has a military brilliance entirely appropriate to Stokowski’s conception.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eShostakovich’s Sixth Symphony followed in the same session, continuing after the scheduled broadcast had ended. Its unusual design had puzzled audiences from the beginning: a long, introspective Largo followed by two increasingly extrovert movements, ending not in tragedy but in an almost manic Presto. Stokowski had been among its earliest and most determined advocates. At the 1940 American première, Virgil Thomson found the work “clear, obvious, effective, old-fashioned”, while Edwin Schloss heard in the finale “Comrade John Philip Sousa, in blouse and boots.” Stokowski himself was much more convinced, writing that repeated hearings revealed its “unusual expressive profundity”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOne week later, on 25 November 1941, another surviving continuous source carries the listener beyond the end of the scheduled NBC programme and into Stokowski’s Symphonic Synthesis from Mussorgsky’s \u003ci\u003eBoris Godunov\u003c\/i\u003e. Stokowski had long believed that orchestral adaptations could bring great dramatic music to audiences who might otherwise never encounter it. His \u003ci\u003eBoris\u003c\/i\u003e is no pot-pourri: it condenses the opera into six connected scenes, preserving its monastery bells, coronation splendour, dark processions and the death of the Tsar while dispensing with voices altogether. Modern opinion has been divided over such liberties, but Mark Swed in the \u003ci\u003eLos Angeles Times\u003c\/i\u003e described the work as “wonderfully thrill-seeking”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTchaikovsky provides the bridge between the two discs. \u003ci\u003eThe Storm\u003c\/i\u003e, broadcast on 29 November 1942, and \u003ci\u003eThe Tempest\u003c\/i\u003e, heard on 7 March 1943, are both youthful Shakespearean tone poems and both remained outside Stokowski’s commercial discography. That is surprising, for their surging climaxes, long-breathed melodies and opportunities for glowing orchestral colour might almost have been designed for him. Reviewing these NBC performances more than sixty years later, a \u003ci\u003eMusicWeb\u003c\/i\u003e critic found them “typically visceral and occasionally even wilful”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe centrepiece of the collection is Prokofiev’s \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, given its first American performance on 7 March 1943, with Jennie Tourel, the Westminster Choir and the NBC Symphony Orchestra. The cantata had grown from Prokofiev’s score for Sergei Eisenstein’s 1938 film depicting the medieval Russian defeat of the invading Teutonic Knights. By 1943 its scenes of invasion, devastation and resistance required little explanation. A surviving contemporary programme records that the \u003ci\u003eNew York Times\u003c\/i\u003e praised the work’s unusual dramatic force and its unavoidable resonance with the current war in Russia, calling it a “composition with a unique dramatic effect.” Prokofiev himself explained that, although he had rebuilt the music according to purely symphonic principles, something of Eisenstein’s visual world remained embedded in it.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJennie Tourel, born in the Russian Empire and later one of the outstanding mezzo-sopranos of her generation, was Stokowski’s soloist in the première. The engagement came at a decisive point in her American career; a few years later \u003ci\u003eTime\u003c\/i\u003e recalled that Stokowski had chosen her for \u003ci\u003eAlexander Nevsky\u003c\/i\u003e just as her reputation was beginning to take off.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe collection closes with another piece that Stokowski effectively made his own. His orchestration of Mussorgsky’s \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e was conceived in conscious contrast to Ravel’s famous transcription. Where Ravel favoured transparency and virtuoso brilliance, Stokowski sought darker sonorities, heavier basses, massed brass, percussion and eventually organ. His opening Promenade emerges from low strings and woodwind rather than trumpet, and he omitted \u003ci\u003eTuileries\u003c\/i\u003e and \u003ci\u003eThe Marketplace at Limoges\u003c\/i\u003e, believing their specifically French character out of place in the Russian sequence. Modern critics have variously called the result darker, more pungent and more Russian than Ravel; whatever one’s preference, the two versions inhabit remarkably different orchestral worlds.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese broadcasts therefore amount to more than a miscellaneous Russian anthology. They document Stokowski using one of America’s finest orchestras as both virtuoso instrument and experimental laboratory, revisiting music he had championed for years while introducing audiences to works they scarcely knew. Heard together, they also capture something particular to their moment: Russian music performed in wartime New York with an urgency that neither conductor nor audience could have regarded as merely historical.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e The Russians\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:48)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e - three excerpts\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Infernal Scene\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e The Prince and the Princess\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e March\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 6\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e I. Largo\u003cspan style=\"font-size: 12px;\"\u003e (16:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e II. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (6:03)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e III. Presto\u003cspan style=\"font-size: 12px;\"\u003e (7:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003eBoris Godunov\u003c\/i\u003e - Symphonic Synthesis\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Outside the Novodievichi Monastery\u003cspan style=\"font-size: 12px;\"\u003e (6:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Coronation of Boris\u003cspan style=\"font-size: 12px;\"\u003e (5:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Monks chanting in the Chudov Monastery\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Siege of Kazan\u003cspan style=\"font-size: 12px;\"\u003e (1:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Outside the Church of Saint Basil\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Death of Boris\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18\u003cspan style=\"font-size: 12px;\"\u003e (14:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 March 1943, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003cspan style=\"font-size: 12px;\"\u003e (10:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 November 1942, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, Op. 78\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Russia under the Mongol Yoke\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Song about Alexander Nevsky\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e The Crusaders in Pskov\u003cspan style=\"font-size: 12px;\"\u003e (7:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Arise, Russian People!\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e The Battle on the Ice\u003cspan style=\"font-size: 12px;\"\u003e (11:50)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e The Field of the Dead\u003cspan style=\"font-size: 12px;\"\u003e (6:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Alexander's Entry into Pskov\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003eJennie Tourel\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\n\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 March 1943, NBC Studio 8-H, Radio City, New York\u003cbr\u003eSung in English\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (2:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Gnomus\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (1:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Old Castle\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Bydło\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (0:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Ballet of the Unhatched Chicks\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Samuel Goldenberg and Schmuyle\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Catacombs\u003cspan style=\"font-size: 12px;\"\u003e (1:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Cum mortuis in lingua mortua\u003cspan style=\"font-size: 12px;\"\u003e (2:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e The Hut on Fowl's Legs (Baba-Yaga)\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e The Great Gate of Kiev\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 March 1943, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eProducer and XR remastering: \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 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