{"title":"Strauss R","description":"\u003cp\u003eRichard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.\u003cbr\u003e\u003cbr\u003eStrauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.\u003c\/p\u003e\r\n\u003cp\u003eStrauss's late works, modelled on \"the divine Mozart at the end of a life full of thankfulness,\" are widely considered by music critics as the greatest works by any octogenarian composer. Strauss himself declared in 1947 with characteristic self-deprecation: \"I may not be a first-rate composer, but I am a first-class second-rate composer.\" The Canadian pianist Glenn Gould described Strauss in 1962 as \"the greatest musical figure who has lived in this century.\"\u003cbr\u003e\u003cbr\u003eUntil the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder \"was flabbergasted. I had no idea music could do the things he was doing with harmony and melody.\"\u003cbr\u003e\u003cbr\u003eStrauss's music had a considerable influence on composers at the start of the 20th century. Bela Bartók heard Also sprach Zarathustra in 1902, and later said that the work \"contained the seeds for a new life\"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works[38] to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano.\u003c\/p\u003e","products":[{"product_id":"pasc319","title":"CANTELLI NBC Concert No. 29: Bach, Cherubini, R. Strauss (1952) - PASC319","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eChristmas Oratorio - \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSinfonia\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHERUBINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in D major \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tod und Verklärung\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 58:22\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhat makes the concert a keeper is the extraordinary performance of the Strauss578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003ePristine’s Cantelli series continues to unearth material not otherwise available. This 1952 NBC concert is quite new to me. Andrew Rose’s source was a tape copy in the private collection of Keith Bennett (author of the recent Cantelli biography), and it seems to have presented quite a challenge to his transfer skills. While the sound is not up to the standard of the best Cantelli\/NBC sources, relatively rough and opaque, it is perfectly listenable. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCantelli followed Toscanini in championing this rarity by Cherubini (the older maestro made his studio recording for RCA in the same year). The work is skillfully crafted, much preoccupied with counterpoint, and with many moments of genuine originality, including a notable penchant for Beethovenian harmonic touches—though Cherubini’s tend to be confined to the level of local effects, with none of Beethoven’s long-range power. Not surprisingly, Cantelli conducts a performance of impressive refinement and discipline. On the debit side, however, textures are excessively string-dominated, tending to heaviness. Tuttis become tiring to listen to, unrelenting and opaque (though the close-up, colorless recording no doubt does not help). For my money, it is all just too monumental for the music’s own good—it needs a lighter touch, more light and shade (as can be heard in Toscanini’s contemporaneous studio recording, despite the use of what sounds like an equally large string section). \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Bach adds little to the disc’s attractions, in its very dated performance style—slow, heavy, and legato, with no harpsichord continuo. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat makes the concert a keeper is the extraordinary performance of the Strauss. The slow introduction is clear-eyed, precise, and unusually articulate at a robust dynamic level—again the close recording may be the culprit, but this patient sounds suspiciously hale, far from death’s door! The ensuing Allegro molto agitato is unforgettable, in its combination of Cantelli’s trademark virtues—solidity, precision, clean articulation, and lucid contrapuntal textures—with expressive intensity of an exceptional order: an elemental outpouring of tone from the NBC musicians, who play as though the concert will be their last! The final transfiguration is played quite swiftly and straight, and is all the more overwhelming for it. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe notes reprint an excerpt from Bennett’s Cantelli biography, which on this evidence could have used a little more copy-editing before seeing the light of day. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis is obviously self-recommending for Cantelli collectors, perhaps less so for the rest of us, but the Strauss really has to be experienced. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eBoyd Pomeroy \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC319.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli conducts Bach, Cherubini and Strauss for Christmas, 1952\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew transfers given a complete audio makeover with XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAll three of these recordings were restored from recordings in\nthe private collection of Keith Bennett, to whom we're very grateful. The\nCherubini and Strauss, from later BBC rebroadcasts, were in better condition\nthan the Bach, but all suffered considerable sonic deficiencies which I've been\nable to largely alleviate. I noticed some considerable variation in hiss, which\ntended to be at its highest at the beginning of the recordings. I've dealt to a\ndegree with this, as well as removing or reducing a considerable number of\naudience coughs, though some do remain.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eJ. S. BACH \u003c\/b\u003eChristmas Oratorio - \u003cem\u003eSinfonia\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eCHERUBINI \u003c\/b\u003eSymphony in D major\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Tod und Verklärung \u003cbr\u003e\u003cbr\u003eBroadcast live from Carnegie Hall, New York City, 27 December 1952\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eGuido Cantelli \u003c\/b\u003econductor\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2011\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003eTotal duration: 58:22\u003cbr\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\/PASC319.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC319.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eJohann Sebastien BACH (1685 - 1750)\u003c\/b\u003e Weinachtoratorium, BWV 248: Part 2, Sinfonia\u003c\/p\u003e\u003cp class=\"body\"\u003eSeven Performances with Three Orchestras Cantelli's Recorded Broadcasts\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"177\"\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"137\"\u003e\n\u003cp class=\"body\"\u003e24 December 1949\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"79\"\u003e\n\u003cp class=\"body\"\u003e6:51\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e27 December 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e6:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of the performances with the NBC Symphony Orchestra\n have been issued on CD. We ot the twenty-first century are very aware \nof the research which has been undertaken concerning performance \npractice in the eighteenth century and there are plenty of recordings \nwith period instruments available. But what, one wonders, would have \nbeen the reaction to these perfonnances for those present at either of \nthese concerts? It comes as no surprise that the orchestra's strings are\n superb and — ior monaural recordings of broadcasts — the woodwinds are \nclear enough. There are, mercifully, no interpretive quirks, but the \nmusicians were inflicted with a bronchial audience during the 1952 \nconcert.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eLuigi CHERUBINI (1760 - 1842)\u003c\/b\u003e Symphony in D major\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eSeven Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"body\"\u003eLargo — Allegro\u003c\/li\u003e\n\u003cli class=\"body\"\u003eLarghetto cantabile\u003c\/li\u003e\n\u003cli class=\"body\"\u003eMenuetto. Allegro non tanto\u003c\/li\u003e\n\u003cli class=\"body\"\u003eAllegro assai\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 685px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"373\"\u003e \u003c\/td\u003e\n\u003ctd width=\"128\"\u003e \u003c\/td\u003e\n\u003ctd align=\"center\" width=\"47\"\u003e1\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"30\"\u003e2\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"36\"\u003e3\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"31\"\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e27 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:19\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:37\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:58\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:35\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:11\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:33\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:55\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:31\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCelibidaclie\/Orchestra della Fenice\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e31 October 1965\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e7:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:31\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eRenzetti\/Orchestra della Toscana*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e14\/18 May 1987\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:10\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e8:06\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:08\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:00\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e6:50\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:35\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:19\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHave there been more than half a dozen recordings \nperformances of this symphony? Possibly not and for many, the name \nCherubini is merely that of an historical figure, 'a conservative \nrevolutionary' as The New Grove put it: probably his most well-known \nwork is the overture \u003cem\u003eAnacreon, ou L'amour fugitif\u003c\/em\u003e recorded by \nboth Furtwängler and Toscanini (and was scheduled for Cantelli's \nconcerts with the Philharmonic-Symphony Orchestra of New York in \nDecember 1956). However, it is well to bear in mind that Beethoven \nthought highly of his contemporary although, with the passing of the \nyears, we know that Beethoven was ahead of his time whereas Cherubini \nwas of it.\u003c\/p\u003e\u003cp class=\"body\"\u003eToscanini's insatiable curiosity often led him to the \nbyways away from the generally accepted repertoire of the period and for\n those who do not know this symphony his performance will refute any \nsuggestion that Cherubini was a dull old stick. The symphony has a \nvigorous first movement, with a melody in the second movement that \nlingers in the memory, a bucolic Haydnesque minuet followed by a cheeky \ntrio as near to Rossini as one could hope to find (surely one cannot \nhear it without smiling, at least inwardly) and ends with a vigorous \nfinale.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt the Maestro's enthusiasm sparked Cantelli's \ninterest. It is quite possible that after Cantelli's final concert with \nthe NBC Symphony Orchestra in the Fifteenth Season on 1 March 1952 he \nstayed on in New York to hear both Toscanini's concert the following \nweek — which included this work — and the Maestro's recording two days \nlater. Whether or not that speculation is misplaced, he must have spoken\n of the symphony with the Maestro which made such deep impression that \nhe included the symphony in his very next concerts in June with the \nOrchestra della Scala as well as giving a perfonnance with the \nPhilharmonia Orchestra during his next visit to London in October. Even \nmore interesting is that he included it in his next series of concerts \nwith the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of his performances are delightful with just a \ntouch more poise than Toscanini in the first, third and fourth movements\n but yielding to the older conductor's restraint in the second.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eRichard STRAUSS (1864-1949)\u003c\/b\u003e Tod und Verklarung, Op.24\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eEight Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eStrauss: 1929 \u003c\/b\u003e23:12\u003cb\u003e; 1939 \u003c\/b\u003e22:07\u003cb\u003e; 1944 \u003c\/b\u003e23:32\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 671px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"354\"\u003e\n\u003cp class=\"body\"\u003eBohtn\/ Wiener Philhannoniker\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"252\"\u003e\n\u003cp class=\"body\"\u003e19 May 1963\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"43\"\u003e\n\u003cp class=\"body\"\u003e23:04\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e23:28\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e22:21\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Philharmonia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e2 \u0026amp; 3 July 1953\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:24\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e22 - 30 June 1960\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:43\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Berliner Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e4 November 1972 and 26 January 1973\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKaraj an\/Berliner Philhamioniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJanuary 1982\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e25:20\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKempe\/Dresden Staatskapelle*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJune 1970\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e22:17\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eReiner\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSeptemberl956\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:52\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSzell\/Cleveland Orchestra*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eMarch 1957\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:54\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e1 Jatiuary 1938\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Philadelphia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e11 January 1942\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Orchestra della Scala\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e5 July 1946\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:44\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e8 \u0026amp; 10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:47\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e The biographer Richard Specht stated that the programme \nfor this piece was based on Strauss's personal experience and it is true\n that Strauss was seriously ill in 1891 but only eighteen months after \nthe completion of the score. In 1894 the composer completely refuted \nSpecht's fanciful suggestion and stated that the idea of portraying a \nman close to death came to him some time in 1888.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe reader's attention is drawn once again to the fact \nthat Karajan's performance withe the Wiener Philharmoniker is not only \nthe quickest by a substantial margin but is also the nearest to the \ncomposer's own timings.\u003c\/p\u003e\u003cp class=\"body\"\u003eOne hesitates to draw attention to die fact that \nToscanini and Beecham — whose attitude to music-making was so very \ndifferent — had at least one quality in common: both had the ability to \nconvince the listener that under their direction a second-rate piece \ncould actually be made to sound much better than usually perceived. \nThere can be no doubt that \u003cem\u003eTod und Verklärung \u003c\/em\u003eis a lesser work \nthan Don Juan but it had — judging from the number of times Toscanini \nperformed the piece when other superior Strauss compositions received \nvery few perfomances (eg Ein Heldenleben) — a fascination for the \nconductor. His first commercial recording was with the Philadelphia \nOrchestra in 1942 but the broader paced performance with the NBC \nSymphony Orchestra ten years later is better in terms of clarity while \nstill avoiding any feeling of mawkishness. It is worth comment that many\n musicians regarded the rehearsal of the work for this 1952 performance \nas a highlight of their careers.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt Cantelli benefitted for Toscanini's work with \nthe orchestra when he gave his performance a little over nine months \nlater and he certainly avoids all hint of extreme exaggeration by \nensuring that the shattering climax actually had expressive meaning.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e© Keith Bennett 2009\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eKeith Bennett is the author of \u003cb\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/b\u003e(published\n 2009) which is only available from GC Publishers. For further details \neither write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \nSuffolk IP12 4UL, UK or e-mail\u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34131841421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34131841485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34131841549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34131841613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC319_52f9d365-3d9c-49ba-b37c-65370ea16d2f.jpg?v=1489572919"},{"product_id":"pasc320","title":"SCHURICHT conducts R. Strauss, Franck et al (1941-42) - PASC320","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLOTHAR\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Schneider Wibbel – \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFRANCK\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Le Chasseur maudit\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eZANDONAI\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Serenata Medioevale \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eREZNIČEK\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Donna Diana – \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphonia Domestica, Op. 53\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941\/42\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:44\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eStädtisches Orchester, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra del Teatro alla Scala, Milano \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI certainly welcome Schneider Wibbel’s overture back to the catalog, along with more recordings by the versatile Schuricht578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eAlthough he never reached the first magnitude celebrity status of some of his colleagues, Carl Schuricht was a busy conductor in Germany and a welcome guest outside it, in part, I would guess, because, unlike some of his colleagues, he was comfortable when he conducted the music of other nations. Fortunately, he did leave quite a few recordings that testify to this. Some of them are on this CD. One is by Riccardo Zandonai, who lived from 1883 to 1944 and was primarily a composer of operas, the only one of which you are likely to come upon nowadays is Francesca da Rimini, first heard in 1914. I’d love to know how Schuricht discovered Zandonai’s Serenata Medioevale, a rhapsodic, heavily chromatic nocturne for cello and orchestra. Maybe cellists aren’t lining up to play it because it’s too dreamy and subdued, but what is more likely is that they don’t even know it exists and I’m delighted that it’s included here. You will hear more surface noise than you are accustomed to, especially on the Italian 78s, because the recordings were issued on inferior wartime (1941) pressings. Some American 78s suffer from the same problem. Like most conductors, he zips through the Donna Diana Overture and skips the repeat, making the piece seem even less substantial than it actually needs to be. The only recording I’ve ever liked is that of Albert Wolff, which is more playful and light-handed. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe other souvenir of his 1941visit to Milan is a recording of Strauss’s Symphonia Domestica, a favorite work of the composer (and me), which had its premiere at Carnegie Hall in 1903 with Strauss on the podium. Depicting some events in the daily routine of Strauss and his wife and son, it’s a sort of tone poem à clef. Schuricht, I am pleased to perceive, seems to treat it as a series of intimate tableaux rather than as a sonic blockbuster. Strauss, of course, can’t resist showing off and inserts an elaborate double fugue into the proceedings. Personally, I think it adds four unnecessary minutes to the piece but he eventually ends the “symphony” with an exciting climax that leads to a witty close. The La Scala winds sound recessed but one seldom loses any significant detail, for which I give the credit to Schuricht, not the producer. I seriously doubt that the orchestra had ever played the piece before Schuricht’s engagement, which makes the performance even more impressive. Of course, good as the performance is, it doesn’t really compete with the better stereo recordings, among which I would include those of Maazel\/Vienna, Mehta\/L.A., Previn, Reiner, and Szell, with de Waart, Karajan, Kempe, Maazel\/BRO, and Sawallisch not far behind them. On the “historic” side, Mitropoulos (unofficially), Ormandy (the first electrical recording), and (especially) Krauss contributed some good ones. There is no lack of quality choices. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eSchuricht’s Berlin performance of Le Chasseur maudit, if it can’t match the virtuoso brilliance of later recordings from Boston (Munch), Minneapolis (Oue), and Philadelphia (Muti), was almost certainly the best recording of the piece until Desiré DeFauw’s Chicago Symphony issue from the mid 1940s. Schuricht saves something for the end, avoiding the sense of anticlimax one can get when the conductor (Munch is guilty of this) gets carried away by his excitement during the first half of the piece. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAnother interesting novelty on this collection is the overture to Schneider Wibbel, an opera by Lothar Hundermark, who used the name Mark Lothar and was primarily a composer of light operas. One of his teachers was Wolf-Ferrari, and you can hear traces of his teacher in this cheerful, eccentric overture, a flashy, tuneful showpiece and quite a curtain-raiser—I wonder if Schneider Wibbel, supposedly his most successful opera, lives up to it. Born in 1902, Lothar lived until 1983. He wrote a lot of songs, and one Lied (Der Pirol) and one song cycle (Musik des Einsamen) are his only other pieces that appear to be available on recordings right now. I certainly welcome Schneider Wibbel’s overture back to the catalog, along with more recordings by the versatile Schuricht. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eJames Miller \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC320.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSchuricht's complete rare wartime La Scala recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus recordings from Berlin in new Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sources for the transfers were a postwar, yellow-label\nDeutsche Grammophon pressing for the Lothar; wartime Siemens Spezial pressings\nfor the Franck; and Italian Voce del Padrone pressings for the two La Scala\nitems. The La Scala recordings (presented here in their entirety) appear to be\nparticularly rare, and some surface noise remains on the lower-grade wartime\nshellac.\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eLOTHAR\u003c\/b\u003e Schneider Wibbel – \u003cem\u003eOverture\u003c\/em\u003e\u003cbr\u003eRecorded 1942 in Berlin. \u003cbr\u003eMatrix nos.: 1948 ½ - GE 9 and 1949 ½ - GE 9 \u003cbr\u003eFirst issued on Grammophon 68269\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eFRANCK\u003c\/b\u003e Le Chasseur maudit\u003cbr\u003eRecorded 1942 in Berlin\u003cbr\u003eMatrix nos.: 2066 ½ - GE 9, 2067 ½ - GE 9, 2068 ½ - GE 9 and 2069 ½ - GE 9\u003cbr\u003eFirst issued on Grammophon 68086 and 68087 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eZANDONAI\u003c\/b\u003e Serenata Medioevale\u003cbr\u003e\u003cb\u003eEnzo Martinenghi\u003c\/b\u003e solo cello\u003cbr\u003eRecorded 1941 in Milan. Matrix nos.: 2BA 4445, 4446 and 4447\u003cbr\u003eFirst issued on La Voce del Padrone DB 5401 and 5402 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eREZNIČEK\u003c\/b\u003e Donna Diana – \u003cem\u003eOverture\u003c\/em\u003e\u003cbr\u003eRecorded 1941 in Milan. \u003cbr\u003eMatrix nos.: 2BA 4448\u003cbr\u003eFirst issued on La Voce del Padrone DB 5402 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eSTRAUSS\u003c\/b\u003e Symphonia Domestica, Op. 53\u003cbr\u003eRecorded 1941 in Milan\u003cbr\u003eMatrix nos.: 2BA 4774-2, 4775-2, 4776-2, 4777-2, 4778-2, 4783-2, 4784-2, 4785 and 4786\u003cbr\u003eFirst issued on La Voce del Padrone DB 5418 through 5421 and DBS 5422 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eStädtisches Orchester, Berlin \u003c\/b\u003e(1-2)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milano\u003c\/b\u003e (3-5) \u003cbr\u003e\u003cb\u003e\u003cbr\u003eCarl Schuricht\u003c\/b\u003e conductor\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e\n\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003e\u003cbr\u003eTotal duration: 77:44\u003cbr\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\/PASC320.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC320.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34131875533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34131875597,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC320_61db7a3c-c9a5-411c-ae6a-220cb8ff00a2.jpg?v=1489572989"},{"product_id":"pasc410","title":"BEECHAM R. Strauss: Don Quixote; Bloch: Violin Concerto (1932\/39) - PASC410","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Quixote\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBloch\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Violin Concerto\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1932\/1939\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:32\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfred Wallenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoseph Szigeti,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e violin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA new transfer of Beecham’s 1932 recording which, apparently, was the very first recording of the work...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eSir Thomas Beecham made a celebrated studio recording of \u003cem\u003eDon Quixote\u003c\/em\u003e\n in 1947\/8 for HMV when his cellist was Paul Tortelier. I believe that \nthe latest incarnation of that recording is as part of a substantial \nBeecham box that David Bennett \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/June11\/Beecham_Later_9186112.htm\"\u003ereviewed\u003c\/a\u003e\n in 2011. When I was offered the chance to review a new transfer by \nPristine Audio of a Beecham performance of the work I assumed I would be\n getting a copy of that recording; that would have given me the chance \nto compare the Pristine transfer with the EMI transfer that I already \nown, which is in the Great Recordings of the Century series. I mean no \ndisrespect whatsoever to Paul Tortelier when I say that what arrived \nthrough my letterbox was something even more interesting. For what \nPristine offer here is a new transfer of Beecham’s 1932 recording which,\n apparently, was the very first recording of the work.\u003cbr\u003e  \u003cbr\u003e At the \ntime he made the 1947 recording Paul Tortelier was just emerging from an\n orchestral career and was seeking to establish himself as a solo \ncellist – the booklet note in my copy of the EMI CD, written by the late\n Lyndon Jenkins, relates the amusing and typically Beechamesque cavalier\n fashion in which he came to be engaged to play the work for Beecham’s \n1947 Strauss festival in London. However, even though Tortelier was not,\n in 1947, an established international soloist it seems clear that \nBeecham engaged him as a concerto-like soloist rather than using \nprincipals from the orchestra, as Strauss intended. In 1932 matters were\n arranged rather differently: this recording followed the composer’s \npreference for the use of orchestral principals. So Beecham had the \nservices of Alfred Wallenstein (1898-1983) who later became a conductor \nbut who was at that time – since 1929 – the principal cellist of the \nPhilharmonic Symphony Orchestra of New York. Joining Wallenstein on the \nsoloists’ roster were Michel (Mishel) Piastro (1891-1970), the \norchestra’s concertmaster from 1931 to 1943, and René Pollain who was, I\n believe, the principal violist at this time.\u003cbr\u003e  \u003cbr\u003e In this \nrecording you won’t hear Wallenstein balanced as an up-front soloist and\n Mark Obert-Thorn, who has made the transfer, suggests that he may have \nbeen seated in his customary place in the orchestra. That seems entirely\n plausible but nonetheless you can hear Wallenstein perfectly clearly \nand a fine soloist he makes. Beecham’s contribution is a distinguished \none too and he – and the recording engineers of the time – make sure \nthat plenty of detail is audible in the often-complex textures of the \nIntroduction. Beecham seems to me to characterise the music well, often \nwith a twinkle in his eye. For instance, the sheep graze placidly in \nVariation II until Quixote panics them and they scatter in confusion. \nThe recording can’t really do justice to ‘The Ride through the Air’ – \none longs for the amplitude of modern sound – but it’s still possible to\n hear the washes of sound that Beecham gets from the orchestra, the \ntrumpets and horns well to the fore.\u003cbr\u003e  \u003cbr\u003e As well as a very good \nDon Quixote the performance benefits from an equally good Sancho Panza \nand both Wallenstein and Pollain are heard to good effect in Variation \nIII, ‘Dialogue of Knight and Squire’. Wallenstein plays eloquently in \nVariation V, ‘The Knight’s Vigil’ and towards the end, as the Don is \ndying I feel that Wallenstein conveys the world-weariness of the Don and\n the pathos of the scene pretty well. Hereabouts there’s a nice \nsimplicity of utterance to his playing and he and Beecham bring off the \nending very successfully.\u003cbr\u003e  \u003cbr\u003e Mark Obert-Thorn has made a very \ngood job of the transfers. The original recording was made on \nexperimental 33 1\/3 rpm discs, each side of which was the equivalent of \ntwo 78 rpm sides, and these have been the source material used. I’m very\n glad to have heard this historic performance.\u003cbr\u003e  \u003cbr\u003e I wish I could \nbe as enthusiastic about the Bloch Violin Concerto but I’m afraid that \nI’ve listened to this a couple of times and it really doesn’t engage my \nsympathies. That’s not the fault of the performers. Szigeti is superb \nand, since he’s well to the fore in the recording it’s possible to \nappreciate his virtuosity in a demanding solo role. Even more admirable \nis the singing purity of his tone. A prime example of that comes in an \nextended slow, reflective passage in the first movement (5:52-8:50). \nSzigeti’s poetic side is also strongly in evidence in the rather \nhaunting slow movement. I liked this movement the best – perhaps in part\n because it’s the shortest movement. The first movement, however, at \n18:10, is nearly three times as long and I think it’s too extended for \nits own good. In particular the cadenza (12:48-15:25) just seems to go \non and on – and to no great purpose. The opening tutti in the finale \nsounds brash – how much, I wonder, is that down to the recording rather \nthan the music; the recording can’t really cope with the volume of this \npassage and, indeed, sonically this is the most problematic movement in \nthe concerto. Here, as elsewhere, all the performers demonstrate \ncommitment to the music.\u003cbr\u003e  \u003cbr\u003e Unfortunately, despite the best \nefforts of Andrew Rose there are issues with the sound in this concerto.\n There’s a good deal of surface noise; in loud passages the orchestra \ncan sound strident; and the sound often crumbles in loud passages. \nNaturally, one must make allowances given the provenance of the \nrecording, which was captured – off air? – from a live performance in \n1939, which was the UK première of the work. Later that same month \nSzigeti made a studio recording with Charles Munch. We learn from the \nnotes that the present recording was found to have four gaps in it, each\n of about 30 seconds. Prior to the only previous release of the \nrecording, on a 1973 LP from the American Beecham Society, these gaps \nwere filled by splicing in the relevant passages from the Munch \nrecording. That editing was done pretty seamlessly, it seems. Andrew \nRose has used the 1973 release for his transfer.\u003cbr\u003e  \u003cbr\u003e Summing up, \nthis release from Pristine will be of considerable interest to Beecham’s\n many admirers. The Bloch is not a piece with which one would have \nassociated him – did he ever return to it, I wonder? So this is an \nimportant addition to his CD\/download discography, especially for \nlisteners who warm to the work more than I do. The Strauss is especially\n significant, I suggest, not least because this was the work’s first \nrecording and it’s a very good one. I’m very glad to have it sitting on \nmy shelves next to Beecham’s 1947 recording.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003eJohn Quinn\u003c\/b\u003e\u003cbr\u003eMusicWeb International, August 2014\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC410.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Strauss and Bloch - world première recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRare recorded outings of Beecham conducting his contemporaries\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003erelease brings together two world première recordings of \nconcertante works made by Sir Thomas Beecham in the 1930s. The studio \nrecording of Don Quixote has an interesting pedigree. Recorded by Victor\n at the behest of EMI in 1932 and issued on that label in the USA, it \nwas released on Columbia in Europe, perhaps the only recording to appear\n simultaneously on these two rival imprints. This was most likely a \nresult of the then-recent merger of English Columbia and HMV, Victor’s \nBritish affiliate, into EMI. Beecham was a Columbia artist, so the \napparent reasoning was that he had to continue to appear on that label \nin the UK. Within a few years, however, his name was on both labels \ninterchangeably.\u003cp\u003eBeecham is heard here conducting the Philharmonic-Symphony Orchestra \nof New York, an ensemble with which he had first appeared four years \nearlier along with another debutant, Vladimir Horowitz, in a notorious \nperformance of the Tchaikovsky B-flat minor concerto which saw the two \ntaking divergent interpretive paths. Apparently, he had no similar \ndifficulties working with the orchestra’s first desk players, which \nincluded future conductor Alfred Wallenstein handling the pivotal cello \npart. The recording is rather curiously balanced, with the brass and \nwinds seeming to overpower the strings, and Wallenstein sounding rather \nrecessed – probably playing in his usual place in the orchestra rather \nthan up front. This recording was simultaneously made for Victor’s \nProgram Transcription series, an early attempt at long-playing records. \nEach 33 1\/3 rpm side was the equivalent of two 78 rpm sides, which \naccounts for the skipped number every third matrix.\u003c\/p\u003e\u003cp\u003eWhile Beecham would go on to re-record the Strauss with his own Royal\n Philharmonic and Paul Tortelier as soloist fifteen years later, he \nnever re-recorded (or indeed made an official studio recording) of the \nBloch Violin Concerto, even though he had already made three classic \nconcerto recordings with the soloist, Joseph Szigeti. Szigeti premièred \nthe Bloch in Cleveland under Mitropoulos in December, 1938. The present \nrecording of the first British performance with Beecham dates from the \nfollowing March. Later that month, he performed and recorded it in Paris\n with Munch, and followed up with a further broadcast under Mengelberg \nin Amsterdam that November.\u003c\/p\u003e\u003cp\u003eWhile the Munch recording and Mengelberg broadcast have been reissued\n several times on CD, the Beecham performance has curiously been \nunavailable since a single American Beecham Society LP release in 1973. \nThat transfer, which was the basis for what Andrew Rose used for his \npresent XR restoration, filled in four gaps in the original acetates \n(two in the first movement, and one each in the others), each lasting \nabout 30 seconds, with the Munch studio recording. A slight difference \nin sound demarcates each patch. Although some disc noise and distortion \nremain and the first note of the third movement is clipped, the \nrecording is valuable not only in preserving a historic collaboration, \nbut also in presenting an infrequent recorded instance of Sir Thomas \nconducting contemporary music.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Don Quixote (Fantastic Variations on a Theme of Knightly Character), Op. 35 \u003cbr\u003eRecorded 7 April 1932 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.: CSHQ 71658-1, 71659-1, 71661-2, 71663-1, 71665-2, 71666-2, 71668-1, 71669-1, 71671-1 and 71672-2\u003cbr\u003eFirst issued as Victor 7589\/93 in album M-144 (USA) and as Columbia LX 186\/90 (UK)\u003cbr\u003eTransfer and remastering by Mark Obert-Thorn\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAlfred Wallenstein\u003c\/b\u003e, cello\u003cb\u003e\u003cbr\u003eRené Pollain\u003c\/b\u003e, viola\u003cb\u003e\u003cbr\u003eMichel Piastro\u003c\/b\u003e, violin\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBLOCH\u003c\/b\u003e Violin Concerto\u003cbr\u003eLive recording, 9 March 1939 in Queen’s Hall, London\u003cbr\u003eFirst issued on The Sir Thomas Beecham Society (USA) LP WSA-5\u003cbr\u003eXR remastered in Ambient Stereo by Andrew Rose\u003cbr\u003e\u003cb\u003e\u003cbr\u003eJoseph Szigeti, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003e\u003cbr\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC410.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC410.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31975228557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975228621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC410_41e61815-3135-4b8b-89f1-960cd999e376.jpg?v=1487681888"},{"product_id":"pasc404","title":"DE SABATA Complete Berlin Philharmonic Recordings (1939) - PASC404","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 in E minor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDeath and Transfiguration\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTristan und Isolde: Prelude \u0026amp; Liebestod\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda: Prelude to Act 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKODALY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDances of Galánta\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Feste Romane\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1939\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 06:21\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVictor de Sabata\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 90px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fVery enthusiastically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese recordings were made by Deutsche \nGrammophon in Berlin in April 1939, and we would probably be better off \njust not to think about the political context of an Italian conductor \nworking in Berlin in 1939, with an orchestra bereft of its Jewish \nplayers. Ironically, de Sabata’s mother was Jewish, which should have \nled the Nazis to ban him from the podium by 1939, and should have led \nhim to refuse to be there! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll of that is so complicated, and \nwould require knowledge that we (despite our clear 20–20 hindsight), \ndon’t really have, that it is better to just concentrate on the music. \nAfter all, isn’t that what we do when we listen to the music of Wagner? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI am familiar with almost all of this material from DG LPs; only the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ePrelude\n was not in the collection I owned. For those who know the recordings, \nthe only question will be about Pristine’s sound quality, and I believe \nthey have done some of their finest work here. The producer of the set \nis Mark Obert-Thorn, one of the most respected transfer engineers \nworking today. These were never great-sounding recordings. They were not\n made in a good hall, but rather in a recording studio on Alte \nJacobstrasse, with the lack of richness and resonance implied by that \nfact. In some cases, where richness of orchestral color is an essential \ningredient in the music (Strauss and Respighi) this is a flaw that \nlimits enjoyment of the performances. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut what comes through in all cases is \nthe extraordinary conducting genius of de Sabata. Virtually all \ncollectors know of this from his work on the first Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a classic that has never been out of print since its first release. \nOther collectors know of his fine Verdi Requiem. A handful may be \nfamiliar with Nuovo Era 013.6337, a New York Philharmonic 1951 Wagner \nconcert performed at a remarkable level of white heat, and featuring \nEileen Farrell. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFew conductors have understood as well \nas de Sabata does instinctively the principles of tension and release as\n an important element of performance. One creates that element through \ntempo, dynamic, and harmonic manipulation of the music. Holding back \nhere, accelerating there, carefully grading dynamic changes and relating\n them to tempo changes, and emphasizing certain harmonic shifts, all of \nthese are elements of tension and release. Overdo it and it becomes a \nmannerism, a tiresome trick that makes the listener feel manipulated. \nUnderplay it and the performance fails to engage. It is that element as \nmuch as anything that underlines that EMI \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efrom\n beginning to end, and de Sabata not only brings that knowledge to the \norchestra, but to Callas and Gobbi, and even to some extent to di \nStefano as well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere the conductor’s mastery of \ndramatic progression is evident throughout, never more so than in the \nmost dramatic (and many would say tragic) of Brahms’s symphonies. The \n1939 Berlin Philharmonic was not, in fact, the great instrument it had \nbeen before it was robbed of some of its most important players, let \nalone that it is today. Some of the string playing is not quite in \nperfect unison, and can be just a touch crude. But none of that is \nserious enough to detract from this wonderfully free, Romantic-styled \nperformance. If your ideal in this music is Weingartner, this is not \nlikely to appeal. De Sabata is free with rubato, uses a wide range of \ndynamics, and a strong degree of portamento, though always tasteful and \nalways very effective. His internal rhythmic pulse is unerring and firm,\n and this Brahms has a sense of inevitability, an inexorable momentum \nfrom beginning to end. Interestingly, the brief note included in the \njewel box by Pristine quotes a 1999 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n that says: “In all these performances, the string playing is \nphenomenal, as is de Sabata’s way of etching phrasing and dynamics into \nthe mind and imagination.” I agree with the second half of that \nsentence, but at least in the Brahms don’t quite find that unanimity in \nthe strings that the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecritic did. But please do not over-react to that reservation; it is truly a minor one when viewed against the whole. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the Wagner, however, suddenly the \nstrings are at a different level. The richness and beauty of sound \novercomes, for the most part, the dry acoustic of the recording studio, \nand de Sabata’s ability to create that big arch from beginning to end, \nthrough carefully judged dynamics, so that the one true climax comes \nnear the end of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLiebestod\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Here is a perfect example of tension and release. Wagner created it in \nthis music, and de Sabata brings it to life. The final release is not \neven that big climax, but rather the final chord of the Liebestod. Only \nthen do we let our breath out. De Sabata gives us a thrilling \nperformance of this music, one that doesn’t let up for a second. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePerhaps the biggest surprise is the \nKodály. I had not heard this in years, and forgot just how lively it \nwas, sparking with energy and rhythmic vitality, and a surprising range \nof orchestral color. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas\n many of the same qualities as the Wagner, with beautifully sustained \nlong phrases. The performance of the Respighi is at the same level, but \nthat is music that requires a more modern stereophonic recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs indicated above, Pristine’s \ntransfer is superb, with a richness that I do not remember from the DG \nLPs or any prior release. Minimal notes with the disc, but more \navailable online, and you can order this from Pristine as a download or \nCD. Very enthusiastically recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThomas Beecham, the saying used to go \nin London, conducted “red hot.” But Victor de Sabata was “white hot.” I \nthought of this as I listened to Mark Obert-Thorn’s excellent sonic \nrestorations of de Sabata’s Berlin Philharmonic recordings from 1939. \nThe very circumstances of the performances give anyone with a capacity \nfor irony a shiver. Here is a half-Jewish conductor, but a personal \nfriend of Mussolini’s (and predictably scorned by Toscanini), performing\n with Hitler’s largely de-Semitized Berlin Philharmonic under the gimlet\n eye of the authorities, and getting magnificent results just before the\n outbreak of the Second World War. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe genius of art and political \nrevisionism of conscience are seldom on the same page, so we do best \nhere to leave 1930s politics alone and make only musical judgments. The \nmore I listen to de Sabata, the more I conclude that his music making \nrepresents how the PR machine of the day suggested Toscanini was \nsupposed to sound—but didn’t. De Sabata has the sort of fire in pressing\n forward that we associate with Toscanini, but not the stiffness and \nseeming indifference to moments of expansion that so tarnish this \nconductor’s presumed greatness. Reiner might be a better comparison. And\n Carlos Kleiber, better still. Or Solti on a very good day. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne of the compelling things about de \nSabata’s Brahms Fourth is the extensive and organic use of portamento. \nIt is a swiftish, slithery performance, and the string slides are as \nintuitive and natural as breathing. Portamento has now returned to \nmodern orchestral practice, but for a long time was derided as the \nsaccharin-sickly equivalent of “Home Sweet Home” needlepoint kitsch. But\n the symphony flows beautifully because of it, and the Berlin \nPhilharmonic strings are to die for, even in 1939. This is how \nportamento is surely supposed to work. All these recordings are studio \nproductions, and they unfortunately do not convey the hall reverberation\n we get from Willem Mengelberg’s 1939 Mahler Fourth, for example. \nFortunately, the recordings are dry without being distorted. Even the \ntape hiss sounds smooth and bright—as easily forgotten as the rain \noutside. Mark Obert-Thorn at Pristine is the engineer behind the \ntransfer, and compared to other pressings of these releases by de \nSabata, such as those on the Urania label, he achieves a more natural \nsounding orchestral balance, largely eliminating the blatty upper \nmidrange dominance which so dates recordings in our ears. Some things he\n can do nothing about. The timpani are consistently just barely audible,\n and in the scherzo nearly impossible to hear. This movement would be \ncalled “light,” except for the fact one that one suspects it wasn’t with\n a proper lower end. Obert-Thorn is a bit more conservative than \nPristine’s Andrew Rose, who frequently manages to inject helpful \nout-of-phase material into the restoration process. Even so, this is \nvery listenable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo my surprise, though, I find that \nthere exists a different restoration of the Brahms, the Strauss, and \nhalf of the Tristan music on the FONO label, remastered with the Cedar \nSound System. Cedar is a British manufacturer of mixing equipment, and \nits restoration process evidently features the addition of \nreverberation. There is so much back channel information here, that one \nalmost forgets that de Sabata’s performances are monaural, much less \nacoustically challenged. There are places in the Strauss where this \nturns slightly artificial and metallic—I would have used less—but \noverall, I find the added reverberation a natural and undistracting \nimprovement. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI only wish Pristine had done something similar with the Respighi \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFountains of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I am not as enthusiastic as I might be about this performance, whose \nopening sounds rushed to me in a frantic attempt to fill out dead spots \nin the sound—shades of Toscanini chasing non-existent echoes in Studio \n8H. But, this compilation of all the Berlin recordings under one \nacoustic roof is nonetheless valuable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Strauss and Wagner performances are as intuitively right as the Brahms. I’m particularly struck by how human the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n music sounds. De Sabata manages to vary the dynamics moment for moment \nwith slight but very personal changes in mood, all the while building \nthe sonority as we would expect. And the music arches perfectly, not \njust towards the great “love-death” climax, but towards the last chord \nitself. Compared to Karajan in both pieces, one notices that the later \nconductor tends to terrace his dynamics a bit portentously and make the \nmusic sound institutional and less personal. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt should be no surprise to learn that \nde Sabata conducts the Verdi prelude beautifully and with real power. \nNor should we think the Kodály an eccentric choice: De Sabata is fully \nmaster of its compelling rhythms, if not perhaps able to convey the \ngorgeousness of color available on later recordings. (I’m thinking of \nOrmandy here). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThese two CDs represent the best \norchestral playing de Sabata had the good fortune to leave us as a \nrecord of his art, well collected in one place. And as usual with great \nconductors from the past, we are stuck with the realities of the day. \nGratitude and frustration mixed together....Music, after all, is a \nvanishing art. Its greatest moments vanish in two seconds. And great men\n of the baton live or die seemingly to shadow-box the air. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC404.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eDe Sabata's magnificent Berlin Philharmonic recordings together for the first time\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“De Sabata’s account of the Kodaly is thrilling, and the Respighi is, quite simply, sensational: definitive.” - Gramophone, 1999\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eAt the time Victor de Sabata made these recordings, his discography \nwas limited to eight sides of mainly short works recorded with an \nItalian radio orchestra in 1933. This was disproportionate to his rising\n international reputation as a conductor, both in the opera house (as \ndirector of La Scala since 1930 and a frequent guest at the theatres of \nVienna and Berlin) and as an interpreter of the symphonic repertoire.\u003cp\u003eAlthough he would go on to record two more series of orchestral works\n (with the London Philharmonic in 1946 and the Santa Cecilia Orchestra \nin 1947-48) as well as the Requiems of Mozart and Verdi and an \nunsurpassed version of Puccini’s Tosca with Maria Callas, the Berlin \nrecordings occupy a special place in his slim commercial discography. \nThey feature uniformly superb performances – boldly conceived, \nrhythmically flexible and executed with tremendous verve and a minute \nattention to detail. Never again would de Sabata work with an ensemble \nof this calibre for a symphonic commercial recording session. While all \nof the works have appeared before on compact disc, this is the first \ntime they have been assembled in one place (an earlier Pearl set having \nomitted the rare Aïda Prelude).\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were yellow-label postwar DGG pressings\n for the Strauss, Verdi, Kodaly and Respighi items; picture-label \nGrammophon “Meisterklasse” pressings for the Brahms set and black-label \nGrammophon discs for the Wagner.\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 4 in E minor, Op. 98\u003cbr\u003eRecorded 11, 13, 14 \u0026amp; 17 March 1939\u003cbr\u003eMatrix nos.: 1079\/80, 1057, 1061\/2, 1068\/9, 1059\/60, 1064 \u0026amp; 1070 GS 9\u003cbr\u003eFirst issued on Grammophon 67490\/5s\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Death and Transfiguration, Op. 24\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 18 \u0026amp; 31 March and 6, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1107, 1072, 1108, 1074, 1097 \u0026amp; 1076 GS 9\u003cbr\u003eFirst issued on Grammophon 67516\/8\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Tristan und Isolde – Prelude and Liebestod\u003cbr\u003eRecorded 7, 8, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1096, 1098\/9, 1105\/6 GS 9\u003cbr\u003eFirst issued on Grammophon 67496\/7s \u0026amp; 67498\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e  Aïda – Prelude \u003cbr\u003eRecorded 11 or 12 April 1939\u003cbr\u003eMatrix no.: 1104 GS 9\u003cbr\u003eFirst issued on Grammophon 68395\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eKODALY\u003c\/b\u003e  Dances of Galánta\u003cbr\u003eRecorded 7, 8, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1100\/3 GS 9\u003cbr\u003eFirst issued on Grammophon 67525\/6\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003e Feste Romane\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 1, 5 \u0026amp; 6 April 1939\u003cbr\u003eMatrix nos.: 1087\/90 \u0026amp; 1094\/6\u003cbr\u003eFirst issued on Grammophon 67510\/3s\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra · Victor de Sabata\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Special thanks to Nathan Brown and Charles Niss for providing source material\u003c\/p\u003e\n\u003cp\u003eAll recordings made in the Alte Jacobstrasse Studio, Berlin\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC404.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC404.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":90080641050,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":90080673818,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC404.jpg?v=1501752114"},{"product_id":"paco082","title":"FLAGSTAD Song Recital 2 - Schubert, Brahms, R. Strauss, US composers (1952) - PACO082","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKIRSTEN FLAGSTAD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSong Recital, Volume 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:23\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eKirsten Flagstad \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eEdwin McArthur \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO082.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond volume of song recitals from one of the greatest sopranos ever\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb transfers of Kirsten Flagstad's early-50s LP releases by Mark Obert-Thorn completes the set\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe present release is the second of two devoted to \nFlagstad’s complete postwar American recordings for RCA Victor. As noted\n in the first volume (PACO 079), these recordings form one of the \nleast-known portions of Flagstad’s discography, not least because of \ntheir lack of availability for most of the past half century. The bulk \nof the items featured here have not been available in any form since the\n 1950s, and none have previously appeared on CD. In addition, most of \nthe songs taped in these sessions were the soprano’s only recordings of \nthe works, which makes their reissue doubly valuable.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs noted in the earlier volume, the reason for the \nabsence of these recordings from the catalog for so long has less to do \nwith the quality of the singing – after all, it was only two months \nafter the last session on this program that Flagstad recorded her iconic\n Isolde under Furtwängler – but rather with RCA’s lack of interest in \nreissuing anything other than her Wagner recordings. (Her prewar RCA \nsong recordings have similarly been ignored, although at least those \nhave been reissued on CD by independent labels.) Of particular interest \nhere is the group of songs by American composers, including two by her \nlongtime accompanist, Edwin McArthur.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sources for the transfers were a British HMV LP for \nthe two Schubert songs, a Canadian RCA pressing for the remaining items \nfrom LM-1738, and multiple copies of first-edition American pressings \nfor the remaining items. The crackling noise heard at the beginning of \nTrack 10 is in the original tape master and appears on all LP editions.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e An die Musik, D.547 \u003cem\u003e(Text: Schober)\u003c\/em\u003e (2:58)\u003cbr\u003e Ganymed, D.544 \u003cem\u003e(Text: Goethe)\u003c\/em\u003e (4:08)\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Von ewiger Liebe, Op. 43, No. 1 \u003cem\u003e(Text: Wenzig)\u003c\/em\u003e (4:32)\u003cbr\u003e O wüsst’ ich doch den Weg zurück, Op. 63, No. 8 \u003cem\u003e(Text: Groth)\u003c\/em\u003e (3:31)\u003cbr\u003e Muss es eine Trennung geben, Op. 33, No. 12 \u003cem\u003e(Text: Tieck)\u003c\/em\u003e (3:21)\u003cbr\u003e Wie froh und Frisch, Op. 33, No. 14 \u003cem\u003e(Text: Tieck)\u003c\/em\u003e (2:22) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Mein Herz ist stumm, mein Herz ist kalt, Op. 19, No. 6 \u003cem\u003e(Text: Schack)\u003c\/em\u003e (3:37)\u003cbr\u003e Ich liebe Dich, Op. 37, No. 2 \u003cem\u003e(Text: Liliencrom)\u003c\/em\u003e (2:24)\u003cbr\u003e Ruhe, meine Seele, Op. 27, No. 1 \u003cem\u003e(Text: Henckell)\u003c\/em\u003e (3:44)\u003cbr\u003e Wiegenlied, Op. 41a, No. 1 \u003cem\u003e(Text: Dehmel)\u003c\/em\u003e (4:20)\u003cbr\u003e Allerseelen, Op. 10, No. 8 \u003cem\u003e(Text: Gilm)\u003c\/em\u003e (3:22)\u003cbr\u003e Zueignung, Op. 10, No. 1 \u003cem\u003e(Text: Gilm)\u003c\/em\u003e (1:53)\u003cbr\u003e Du meines Herzens Krönelein, Op. 21, No. 2 \u003cem\u003e(Text: Dahn)\u003c\/em\u003e (2:31)\u003cbr\u003e Ach Lieb’ ich muss nun scheiden, Op. 21, No. 3 \u003cem\u003e(Text: Dahn)\u003c\/em\u003e (2:16)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e]\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJ. Walter KRAMER\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Now like a lantern \u003cem\u003e(Text: Raphael)\u003c\/em\u003e (2:50)\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJohn Alden CARPENTER\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e When I bring to you colour’d toys \u003cem\u003e(Text: Tagore)\u003c\/em\u003e (2:20)\u003cbr\u003e The sleep that flits on baby’s eyes \u003cem\u003e(Text: Tagore)\u003c\/em\u003e (2:34)\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJames H. ROGERS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e At parting \u003cem\u003e(Text: Peterson)\u003c\/em\u003e (2:08) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eOley SPEAKS\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e \u003c\/b\u003e Morning \u003cem\u003e(Text: Stanton)\u003c\/em\u003e (2:10) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eEdwin McARTHUR\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e \u003c\/b\u003e We have turned again home \u003cem\u003e(Text: Towne)\u003c\/em\u003e (2:49)\u003cbr\u003e Night \u003cem\u003e(Text: Towne)\u003c\/em\u003e (2:53) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDeems TAYLOR\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e A song for lovers, Op. 13, No. 2 \u003cem\u003e(Text: Stephens)\u003c\/em\u003e (2:52) \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMildred TYSON\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e Sea moods \u003cem\u003e(Text: Benham)\u003c\/em\u003e (2:48)\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eTracks 1-2: Recorded 17 March 1952\u003cbr\u003e Tracks 3-14 and 21-22: Recorded 10 April 1952\u003cbr\u003e Tracks 15-20 and 23: Recorded 18 March 1952 \u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTracks 1-4, 8-9 and 18-20 first issued on RCA Victor LM-1738\u003cbr\u003e Tracks 5-7 and 15-17 first issued on RCA Victor LM-2825\u003cbr\u003e Tracks 10-14 and 21-23 first issued on RCA Victor LM-1870\u003c\/p\u003e\u003cp\u003e\nRecorded in RCA Studio No. 2, New York\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eKirsten Flagstad \u003c\/b\u003esoprano\u003cb\u003e \u003cbr\u003e Edwin McArthur \u003c\/b\u003epiano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\nTotal duration: 68:23 \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Kirsten Flagstad\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\/PACO082.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO082.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 16-bit FLAC","offer_id":32539525773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32539525837,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32539525901,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO082.jpg?v=1487770883"},{"product_id":"pasc407","title":"FURTWÄNGLER conducts Richard Strauss (1950\/54) - PASC407","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tod und Verklärung, Op. 24\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Juan, Op. 20\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Till Eulenspiegels lustige Streiche, Op. 28\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Vier letzte Lieder, Op. post.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1950\/54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:57\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Furtwängler, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducto\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003er\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eKirsten Flagstad\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\n\u003c\/span\u003e\u003cbr\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnyone with a serious interest in Flagstad, Furtwängler, and\/or Strauss’s Four Last Songs will find this a necessity578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe world premiere of Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Last Songs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was given on May 22, 1950, at the Royal Albert Hall in London, and was \nprivately recorded. Versions of that recording (often misattributed as \nthe dress rehearsal) have circulated for many years on a variety of \nlabels, in sound ranging from the atrocious to the very poor. In 2008, \nTestament came out with a version that sounded much better than its \npredecessors, but was still difficult to enjoy. Now Andrew Rose has \ntried has hand at it, applying his XR remastering technique, and the \nresult is the best yet. I do not want to create false hopes here. The \noriginal recording is in many ways hopelessly flawed. There is constant \nsurface noise and grit, distortion at climactic moments, and on the \nearlier reissues the inconsistent pitch from wow and flutter was \ncrazy-making. While Testament’s issue fixed the pitch problems and \nminimized the others, Pristine goes further. The orchestral colors are \nmore vividly realized here, Flagstad’s voice is clear and brilliant, and\n one can enjoy the performance in a way that is not even possible on \nTestament’s version. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSo, then, the discussion can center on \nthe performance itself. Surely no singer since this premiere has sung \nthese songs with a richer, warmer, more full-sounding dramatic soprano \nvoice (though Jessye Norman brought similar qualities). Indeed, the \ntrend has been consistently toward lighter, more lyric sopranos. It is \nimportant to remember that Strauss wrote these songs specifically with \nFlagstad in mind, and persuaded her to learn them and sing the premiere \n(though he died before it took place), and it was Flagstad who insisted \nupon Furtwängler. In the decades since, we have become accustomed to \nthose lighter voices (Schwarzkopf imprinted herself on many of us), and \nto a degree of specificity in word-pointing that Flagstad does not \ndeliver. One can find any number of performances with a greater variety \nof inflection and vocal color, but very few with this degree of tonal \nwarmth and beauty throughout the range. Flagstad seems to be luxuriating\n in this music, and she and Furtwängler are in synch with each other at \nevery turn of phrase. The orchestra positively glows at the beginning of\n “Im Abendrot,” and that is more apparent in Pristine’s transfer than it\n ever has been. The order of the songs at this premiere differs from \nwhat has become the established order (remember that Strauss did not \nnecessarily conceive them as a set). Here we have “Beim Schlafengehen”; \n“September”; “Frühling”; “Im Abendrot.” Even after Andrew Rose’s \nsuperlative work, enough flaws remain that this could hardly be \nrecommended as anyone’s standard recording of these songs. It is, \nhowever, a valuable and important document of the world premiere by the \nsoprano for whom they were written and one of the great conductors of \nthe era, and it is finally in listenable sound. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has chosen three EMI studio \nStrauss recordings to round out the disc, and their XR remastering \nbrings a degree of color and life to these recordings that improve upon \nthe EMI transfers with which I am familiar. There is a 1947 live \nperformance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n Furtwängler and the Hamburg Philharmonic that exceeds this 1950 \nrecording in terms of intensity and raw power (it has been issued by \nMusic \u0026amp; Arts, Nuova Era, Arlecchino, and various other labels), but \nthis has much more satisfying sound quality and is better played. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e there are a number of Furtwängler alternatives that have more life to them. This 1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a bit earthbound, and even Pristine’s vivid restoration work cannot \nmake it the equal of various alternatives: a 1947 Berlin Philharmonic \nperformance on DG or a 1953 Salzburg Festival reading on Orfeo have a \ndegree of spontaneity lacking here, though the clarity of the recording \nand beauty of the central section make this worth having. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the 1943 Berlin performance on DG (or even better on Eduardo Chibas’s \ntransfer at furtwanglersound.com) is hair-raising, but somehow \nFurtwängler and the VPO managed to find a degree of panache here that \neluded them in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, even though \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n recorded the next day, and this is almost the equal of that wartime \nlive performance. These performances are clearly the work of an \nimportant and great conductor, and one hears his attention to orchestral\n sonority and balance perhaps more clearly in Pristine’s transfers than \never before. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs is usual, there are very minimal \nnotes with the disc. Pristine says “full programme notes can be found \nonline,” but I cannot locate them, and don’t know whether they include \ntexts for the songs. Anyone with a serious interest in Flagstad, \nFurtwängler, and\/or Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Last Songs \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewill find this a necessity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:1 (Sept\/Oct 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC407.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWilhelm Furtwängler's brilliant interpretations of Richard Strauss\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Rarely can a first performance have served any music and its composer so well\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe decision to tackle Flagstad and Furtwängler's legendary première recording of Richard Strauss's \u003cem\u003eFour Last Songs\u003c\/em\u003e\n in the year of the composer's 150th birthday was taken following the \nsuggestion of a correspondent who e-mailed me last summer with the idea.\n That it's taken more than nine months to bring to fruition has much to \nsay for the difficulties involved in trying to do anything to improve \nthe frankly abysmal quality of the original recording, originally \ncaptured on acetate discs that have seen far too many heavy needles over\n the years.\u003c\/p\u003e\u003cp\u003eThe flaws inherent in the original recordings are myriad: Surface \nnoise is a constant intrusion; Thumps, bumps, clicks and scratches \nabound; The frequency range is limited, the frequency response deeply \nunrepresentative; Swish is endless to the point of being almost \noverwhelming; Distortion rears its head too often. Restoration and \nremastering technology can help enormously - XR remastering brings out \nmuch of the orchestral richness and texture and lifts a veil from \nKirsten Flagstad's voice, whilst pitch correction helps with wayward wow\n and flutter. Much of the swish has been smoothed out, and noise \nreduction has done just that. The recording remains pretty compromised, \nas I suspect it always will, but once the ears have adjusted to the \nshortcomings of the medium there's much to be enjoyed and cherished.\u003c\/p\u003e\u003cp\u003eThe other three recordings were made in the Musikvereinssaal in Vienna for commercial releases. The first, \u003cem\u003eTod und Verklärung\u003c\/em\u003e,\n was originally destined for 78rpm issue in 1950, and although it would \nhave been taped, is of noticeably lower quality than the later, 1954 \nrecordings. Hiss levels were higher and the upper frequencies less well \ndefined - though of course all three recordings are much, much better \nfrom a technical point of view than the\u003cem\u003e Four Last Songs\u003c\/em\u003e. As with the \u003cem\u003eSongs\u003c\/em\u003e,\n the recordings all responded very well to XR remastering, which has \nonce more brought new life and light to the orchestral sound.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eR. STRAUSS Tod und Verklärung\u003c\/b\u003e \u003cem\u003e(Death and Transfiguration)\u003c\/em\u003e,\u003cb\u003e Op. 24\u003c\/b\u003e  \u003cbr\u003e\u003c\/span\u003eRecorded 21, 23, 24 January 1950\u003cbr\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Anthony Griffith\u003cbr\u003eFirst issued as HMV 78s DB.21169-71 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eR. STRAUSS Don Juan, Op. 20\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 2 March,1954\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS Till Eulenspiegels lustige Streiche\u003c\/b\u003e \u003cem\u003e(Till Eulenspiegel's Merry Pranks)\u003c\/em\u003e,\u003cb\u003e Op. 28\u003c\/b\u003e\u003cbr\u003eRecorded 3 March,1954\u003c\/p\u003e\n\u003cp\u003eRecording producer: Lawrance Collingwood\u003cbr\u003eRecording Engineer: Francis Dillnutt\u003cbr\u003eRecorded at the Musikvereinssaal, Vienna\u003cbr\u003eFirst issued as HMV LP ALP.1208  \u003c\/p\u003e\n\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eR. STRAUSS Vier letzte Lieder\u003c\/b\u003e \u003cem\u003e(Four Last Songs)\u003c\/em\u003e,\u003cb\u003e Op. post.\u003c\/b\u003e \u003cbr\u003eRecorded 22 May, 1950\u003cbr\u003eWorld Première, Royal Albert Hall, London\u003cbr\u003e\u003cbr\u003e\u003cb\u003eKirsten Flagstad\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor \u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC407.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC407.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":31975572237,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975572301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975572365,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32969357099069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC407_9eb3a3fa-23d0-4c6d-9a74-5f5806af515c.jpg?v=1606485313"},{"product_id":"pasc428","title":"HORENSTEIN R. Strauss: Metamorphosen, Sinfonia Domestica (1953\/61) - PASC428","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMetamorphosen\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSinfonica Domestica\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1953 and 1961\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:20\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre National de la Radiodiffusion Française\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine Audio continues to add to the Horenstein discography with this very important release.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine Audio continues to add to the Horenstein discography with this very important release. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n recorded for LP by EMI in 1953, and issued on the Pathé and Angel \nlabels at the time, but has never been reissued in any form, so this is \nits CD debut. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonia domestica \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a BBC broadcast that has never been available, and even more \nimportantly it is the only performance of this work by Horenstein to be \nissued. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere is a live \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efrom 1964 with the same orchestra, issued by Music \u0026amp; Arts as part of a nine-disc set that I reviewed in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e28:3,\n but frankly this studio recording is the more successful reading. \nHorenstein and the engineers managed a perfect balance between the 23 \nsolo string parts, and Pristine’s XR (ambient stereo) transfer brings \nout a depth and richness to the sound that was lacking in the original. \nHorenstein captures perfectly the bittersweet nostalgia and sense of \nregret, even desolation, that is inherent in this music. With his sparse\n textures and sensitive phrasing, Horenstein’s performance makes a \nstrong impact. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestic Symphony \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n not one of Strauss’s most tautly constructed symphonic poems, and it \ncan easily sound disjointed and wander aimlessly. But when well \nperformed it can be one of the composer’s most effective and powerful \nscores. The source for this release is an off-the-air taping of a BBC \nbroadcast, which suffers from a bit of dropout at the outset but gets \nbetter as it goes along, and in the end it makes for acceptable \nlistening for any collector used to the limitations of “historic” \nrecordings. What makes it worth getting used to is that usual \ncombination of Horenstein strengths: rhythmic tautness, careful \nattention to balance and color, and tempo relationships that seem \nunerringly right. This latter is not only a matter of actual tempo \nchoices, but also a matter of smooth and perfectly judged transitions. \nHorenstein projects true and touching sentiment in the love music \nwithout turning mawkish, \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThere is plenty of competition for the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestica\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n from historically important recordings by Strauss himself and \nFurtwängler to fine modern versions by Mehta, Karajan, Reiner, Szell, \nand Maazel. I will not try to make the case that Horenstein’s is \nsuperior to all of them, but I will maintain that anyone interested in \nthe work should hear this recording. Horenstein finds the perfect \nbalance between maintaining structural integrity and giving the \nappearance of spontaneity, and the BBC Symphony plays as if possessed \nthroughout. At 44:33, this is one of the slower performances in the \ncatalog, but it never feels slow because of the strong rhythmic pulse \nthat underlies even the lyrical sections. Horenstein maintains tension \nover long spans of generous phrases, and ties everything into a unified \nwhole because he never loses sight of the overall shape. Much gratitude \nis due Pristine Audio for this immensely gratifying release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJascha Horenstein’s name has been one I\n have known, and he a conductor to conjure with, since autumn 1954. I \nwas 17, entering college, and my world of classical music was expanding \nrapidly, in multitudes. Through contact with classmates, instructors, in\n classes, and through a suddenly available expanded base of recordings, I\n and my peers were inundated; it was a thrilling time. We learned new \nmusic, and discovered performers new to us. We were exposed to a broader\n base of LP recordings, and more easily afforded lower cost labels. \nWestminster Records sold LPs for $2.99 and so we acquired the recordings\n of conductor Hermann Scherchen, pianist Paul Badura-Skoda, and many \nothers. From Vox Records came its own stable of soloists, and a \nconductor named Horenstein. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn those years we were discovering \nMahler and Bruckner, and Horenstein recorded both composers (by that \ntime he had three decades’ experience) as well as dynamic Beethoven (the\n Third and Ninth symphonies stand in memory; I still own the former), \nand a positively clairvoyant Brahms Third. The orchestras could be \nragged—one suspected rehearsals were short and retakes few—but clearly, \neven to our youthful ears, a master was at work. Comparing Scherchen and\n Horenstein in Mahler and Beethoven caused many a late-night dormitory \ndiscussion, as did analysis of Horenstein’s Bruckner as against the \nbetter-recorded, better-played (and more costly) Bruckner recordings of \nvan Beinum and Knappertsbusch on Decca and Philips. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt must have been at the end of 1954 or\n very early 1955 that I entered our local record shop and saw a new \nAngel release, with Horenstein conducting two works which, in that day, \nqualified as exotica: Stravinsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphony of Psalms\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the Strauss \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n both recorded by EMI in Paris in 1953. Angel offered a “thrift pack” \nfor a mere $3.75, so I settled for the new release without notes or the \nhandsome album cover. I have not regretted the purchase these six \ndecades. But I am incredibly grateful for Andrew Rose’s efforts in his \nremastering of this never first-rate EMI taping. (The Stravinsky has \nbeen previously reissued and reviewed in these pages [PASC 418].) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n utilizing 23 strings Horenstein selected from the Orchestra de la \nRadiodifussion Francaise, was not, as Irving Kolodin somewhat waspishly \nnoted in his 1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOrchestral Music: The Guide to Long Playing Records\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n “the first (that was contained in a 78 rpm version by Karajan) nor the \nlast word on this subject, but an intermediate one that will pay close \nattention.” Indeed, not the last, but this listener has been paying \nclose attention for these many years, and can hear the recorded \nperformance now in very decent sonics thanks to Pristine Audio’s issue. \nThe performance is deliberate but does not seem slow except in the \nconcluding section of the work. The opening is gripping and the \nconductor seems sure of purpose in leading the small band of \ninstrumentalists. Despite having been individually chosen, they are not,\n truth to tell, the equal in virtuosity to others who have recorded this\n music, but they are good enough and the performance as a whole has \ngreat emotional thrust. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI know I heard the 78-rpm recording to \nwhich Kolodin referred in his comments, but all that I recall is how \nmuch the side breaks disturbed me in this composition. That, from a \nteenage ingrate who had reached physical maturity hearing only shellac \ndiscs. The greatest impact of this Horenstein recording, 60 years ago, \nwas to be able to hear the composition uninterrupted. In years that \nfollowed, I acquired the incredible Furtwängler performance from 1947, \nalmost three and a half minutes faster than Horenstein. Then came \nKarajan’s remake from the early 1970s, with string playing from his BPO \nwhich puts Furtwängler’s violins to shame—or maybe not, since the older \nperformance totally wins points on expression. Add to that another \nfavorite recording, the EMI release by Kempe and the Dresden \nStaatskapelle, recorded December 1972. Kempe, at a hair over 25 minutes,\n is two minutes slower than Furtwängler, and about 90 seconds faster \nthan Horenstein. Karajan is yet another minute slower than Horenstein. \nIn this work, tempo relationships are key. It’s not the duration of the \nperformance, but what it tells us. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe same may be said of the massive \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonia domestica\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, along with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe Alpine Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n one of Strauss’s three longest orchestral works. This all-knowing \ncollege student dismissed the work out of hand, early on. Our college \nlibrary had a copy of a Vox LP (PL 7220) which purported to be a 1944 \nVienna concert performance with the composer leading the Philharmonic. \nPerhaps; it also may have been a misattributed 1944 performance by \nFurtwängler. It was a dull-sounding record, and I’m not sure if we ever \nsearched out Decca’s 1952 commercial release with Clemens Krauss leading\n the VPO in studio conditions (a much praised monaural record, not known\n to me). In November 1956 Reiner recorded the piece in Chicago and RCA \nreleased a dull-sounding monaural LP early the next year. A stereo \npressing followed in due course. This was and remains one of the few \nReiner discs to which I do not owe life-long devotion. I can’t give a \ngood reason. As was once said to me: Apathy is apathy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy love affair with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestic Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n began with my discovery of George Szell’s studio recording with his \nCleveland Orchestra, recorded on a single day in January 1964, in a \nCleveland venue not otherwise identified by Sony. At 41:25, this is \nprobably the fastest performance of the work ever recorded, and to my \near the most persuasive. To hear the first chair players of the great \norchestra of that day—Adelstein (trumpet), Sharp (flute), Marcellus \n(clarinet), Bloom (horn), and Druian still in the concertmaster’s \nchair—in a work such as this with so many expressive solo “licks,” is an\n experience to be treasured. At the other timing extreme is Maazel with \nthe VPO in a live performance recording (DG) which takes 44:26. In his \ncomments on the Furtwängler performance of this work the late John \nArdoin observes that “the work overstays its welcome and offers several \nendings, rather than one.” He also comments on the lavishness of the \nscore, and that it at many points reminds one of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n True, and both of those characteristics come to mind in hearing the \nMaazel disc. The inflections the VPO brings to the score are unique and \nmay be almost beyond the control or influence of a conductor. I can’t \nresist. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat of the Horenstein performance? It \nleans more to the deliberation and lushness of Maazel’s recording than \nto the clarity and tautness of Szell. What it has in common with Szell \n(who makes you unaware of the several endings which turn out to be not \nsuch), is that Horenstein sees the work straight through. One has the \nfeeling that he knows precisely where this is heading and where it will \nend. There is control from the podium but not domination. The reins are \nnot taut, but they are never dropped. And, amazingly, this is the most \ndeliberate performance yet, another half minute beyond Maazel. But, it \nis not slow at all. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe conductor’s cousin, Misha, in a \ncomment reprinted in the notes for this release, observes that it is \nalmost unimaginable what Rose and Pristine Audio have accomplished with \nthe sonics here. The first 10 or so minutes seem a trifle less forward, \nbut otherwise, and ignoring a few instances of drop-out (only one really\n significant), you forget for long stretches of time you are listening \nto an off-line broadcast from 1961. The climax of the work comes through\n with particular brilliance. In an email exchange with the writer, Misha\n Horenstein also commented that what impresses him is the incredible \ncommitment of the BBC orchestral players. I agree. They are giving their\n all here, and the edge of the seat concentration is thrilling. How \noften can they have played this music? Some of them may have been around\n when Strauss conducted it in London in 1947, a year before his death, \nbut not many, and performances of the piece were not (are not) frequent.\n \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eA historical issue need not be \n“ranked” or evaluated in competition with the currently available crop \nof commercial issues, but this disc can be placed in context. I continue\n my loyalty to the Szell and Maazel stereophonic releases of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestic Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and to the Furtwängler and Kempe recordings of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n as well as to the second of Karajan’s three recordings (DG). But I can \nnow hear an old favorite of this threnody for strings in better sonics \nthan I ever imagined possible, and can hear a unique view of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestic Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with a great conductor working at white heat and an orchestra inspired \nto play at the very best—all for the cost of a single disc. Once again, \nPristine Audio and Andrew Rose have moved from strength to strength, and\n deserve our thanks. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC428.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRare Horenstein Strauss: first ever release for Sinfonia Domestica\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Much gratitude is due Pristine Audio for this immensely gratifying release\" \u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eJascha Horenstein made three records for EMI and its affiliates; his \n1953 Metamorphosen, coupled with Stravinsky's Symphony of Psalms (PASC \n418) was one. This is its first reissue in any format - despite it \nwinning a prestigious Grand Prix du Disque in 1954. That original \nrecording was reasonably well-made but a lack of depth meant the lower \ninstruments tended to get somewhat lost amidst the denser textures of \nthe piece. XR remastering has helped here in clarifying the multiple \nvoices of the 23 strings, adding body to the recording as well as a \nsense of dimension.\u003c\/p\u003e\n\u003cp\u003eThe 1961 BBC broadcast of Sinfonia Domestica originated in an off-air\n tape recording of a BBC Home Service broadcast. It is the first time a \nrecording of Horenstein conducting this work has been made available, \nand once more we are grateful to the conductor's cousin, Misha \nHorenstein, for access to his extensive archives. The fidelity of the \nrecording is lower than that of the earlier EMI LP, and in addition \nthere was a degree of tape dropout to battle against during the first \nten minutes or so of this 45-minute performance.\u003c\/p\u003e\n\u003cp\u003eThe sound quality throughout is, in this remastered version, a \nsignificant step up from the original source, as Mr. Horenstein \nacknowledged on first hearing it: \"I agree that the first section is \nsonically more subdued than the later parts, but taken as a whole what \nyou've managed to do with it is pretty impressive, bravo!\" \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eMetamorphosen\u003c\/span\u003e\n\u003cp\u003eOrchestre National de la Radiodiffusion Française\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 30 June, 1953\u003cbr\u003eThéâtre des Champs-Elysées, Paris\u003cbr\u003eIssued as Pathé DTX.138 and Angel 35101\u003cbr\u003eSpecial thanks to Donald Clarke for the loan of source recording\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFirst reissue since original release\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eSinfonia Domestica\u003cspan style=\"font-size: small;\"\u003e, Op. 53\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\n\u003cp\u003eBBC Symphony Orchestra\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLive broadcast recording, 19th February 1961\u003cbr\u003e\"Sunday Symphony Concert\", BBC Home Service\u003cbr\u003eBBC Maida Vale Studio 1, London\u003cbr\u003eFrom the Misha Horenstein collection\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFirst ever release of Horenstein conducting this work\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC428.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC428.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":37144931277,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144931341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144931405,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144931469,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC428_6ac6e202-5f87-436a-bd9f-d8a2f4dad529.jpg?v=1494338855"},{"product_id":"paco111","title":"KEILBERTH, KRAUSS R Strauss: Salome, Aus Italien (1951\/53) - PACO111","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Salome\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Aus Italien\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and studio recordings · 1951 \u0026amp; 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 19:29\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eInge Borkh\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Salome)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIrmgard Barth\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Herodias)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Hotter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (Jokanaan)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMax Lorenz \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(Herod)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLorenz Fehenberger \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(Narraboth)\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBavarian State Opera Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoseph Keilberth\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eClemens Krauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDelightful through and through, bathed in Italian sunshine filtered through Strauss578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe premiere of Strauss’s opera took \nplace in Dresden in December 1905. By the time five months had passed \nthe opera had generated enough controversy that among the audience which\n attended the first Graz performance were Mahler, Puccini, and \nSchoenberg. Strauss may or may not have been being facetious when he \nsaid the opera contained no difficulties, describing it as “a scherzo \nwith a fatal conclusion” and claiming that “it should be played as if it\n were by Mendelssohn.” I suspect that the anecdote that has him telling \nthe orchestra to play louder “because I can still hear the singers” is \napocryphal and much of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n orchestration, despite the huge orchestral forces, is quite delicate \nand refined. He originally wanted the title role performed by a dramatic\n soprano despite the fact that few of them could convincingly pass as \nteenagers, much less actually perform the Dance of the Seven Veils. His \nchoice as the original Herod was Carl Burrian (Karel Burian), a \nHeldentenor who sang nearly all the big Wagnerian tenor roles at the \nMet. Eventually, Strauss decided that lighter-voiced sopranos could sing\n the role after all, and among the eventual Salomes were Maria Cebotari,\n Lisa Della Casa, and Anna Silja. He even composed a thinner \norchestration for use in smaller theaters, and recordings have made it \npossible for “character tenors” to play Herod, but the live broadcasts \nI’ve heard use Heldentenors: Set Svanholm (Reiner), Jon Vickers (Kempe),\n and Max Lorenz (Keilberth). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs you can see above, Keilberth’s \ndates from July 1951. Yes, it is monaural, but surprisingly vivid for an\n old radio broadcast. Joseph Keilberth, of whom I have never been a big \nadmirer, holds his own with such recorded colleagues as Karajan, Kempe, \nKrauss, Sinopoli, and Solti, helped to a considerable extent by the fact\n that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is a\n piece of musical machinery that is difficult to ruin—once set in motion\n by a competent conductor and given a good enough cast, it’s going to \nwork. Leading Keilberth’s cast is Inge Borkh, a celebrated Salome and \nElektra who certainly puts across, at least, the aural picture of Salome\n as an impulsive, obsessive teenager. Hans Hotter’s Lieder smarts avail \nhim little in so declamatory a role as Jokanaan—he’s good but really no \nbetter than Hans Braun (Krauss), Bryn Terfel (Sinopoli), Thomas Stewart \n(Kempe), José van Dam (Karajan) or Eberhard Wächter (Solti). The veteran\n Heldentenor Max Lorenz may not have been much of a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n by 1951, but he could certainly handle Herod as well as anyone else \nI’ve heard perform it. Kempe’s live performance from the Orange (France)\n Festival has the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecachet \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n Jon Vickers in a role he seldom (if ever again) undertook, but the \ndirector had him spending a lot of time toward the rear of the stage so \nthis in-house recording minimizes his impact on the performance. Leonie \nRysanek is a disappointing Salome who seems more concerned about being \ndrowned out than creating a character. She’s the Herodias on Sinopoli’s \nrecording, which stars Cheryl Studer, who takes full advantage of the \nfact that she doesn’t have to project her voice into a large theater. \nBryn Terfel’s cistern seems a bit far away but you can always hear him. \nHorst Hiestermann is a more-than-adequate Herod. I used to think that \nHerbert von Karajan and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was a perfect match of conductor and opera and his recording did not \ndisappoint me, nor did Hildegard Behrens’s performance of the title \nrole. The rest of the cast is fine, too. Solti has the benefit of Birgit\n Nilsson’s terrific Salome, both dramatically as well as vocally. \nGerhard Stolze, who might have been unsatisfactory in person, is able to\n create a nice, slimy Herod on the recording and Eberhard Wächter’s \nbang-it-out style works for Jokanaan. If you don’t mind a single \nchannel, Clemens Krauss gave us a fine recording 60 years ago that still\n holds up well. Christel Goltz, Hans Braun, and Julius Patzak head the \nstrong cast of Viennese veterans. I have hardly mentioned Herodias and \nNarraboth because these characters, while they contribute to the action,\n are not exactly make-or-break roles. Given the excellent two-channel \nrecordings by Karajan, Sinopoli, and Solti, I can see little \njustification for recommending Keilberth’s 1951 broadcast, despite its \nobvious virtues. If it matters, Clemens Krauss’s 1954 studio recording \nof \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nserves as a bonus filler, but in Pristine’s transfer the strings seem a \nbit too bright and disembodied from the orchestra. If I must listen to \nthis overlong, early Strauss tone poem in a mono recording, I prefer \nDecca’s CD transfer of the Krauss (they were presumably able to work \nfrom the master tape). The most interesting thing about \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e for me is that Strauss, under the illusion that it was a folk song, made several strong allusions to Luigi Denza’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFuniculi, funicula\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in the final movement only to discover, to his embarrassment, that it was under copyright.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis performance has been available \nbefore, but here appears under the Pristine label in a remastering by \nAndrew Rose. Previous commentators are right to identify Hans Hotter as \nthe prime reason for acquiring the set. He sang the role with Strauss \nhimself conducting (and not just once), so there is a sense of \nauthenticity from that regard. And Hotter’s Jokanaan is indeed \nremarkable, his velvety voice still capable of carrying huge distances \n(even, ostensibly, from the bottom of wells). When he is first in focus \n(that is, at ground level) it is less imposing, more truly frightening, a\n prophet who surely should be in the Old Testament with its tales of \nutter violence. From this perspective, the outlay on the issue is fully \nvindicated. He is magnificent, a vocal Empire State Building. The top \nend of his voice never thins, maintaining the richness of tone, \nsomething vital in this role. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe sound on Pristine’s offering seems \nvery open, and there is plenty of orchestra detail. It also sheds more \nlight on Inge Borkh’s rather harsh sound and sometimes unpleasant \nvibrato. The surely deliberate petulance of the earlier parts of the \nopera opens out later, allowing the torment and, indeed, vortex of \nemotions to shine through. Max Lorenz starts off with plenty of vocal \nstrength for Herod (“Salome, komm, trink Wein mit mir”), and manages to \nproject the frustrations of obsession well, if not absolutely \ngrippingly. He does seem to tire later, though; neither is his Herodias,\n Irmgard Barth, in top form. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHowever, Keilberth’s way with the \norchestra is mightily impressive. There is amazing detail to the louder \npassages lost in many other recordings, a fact particularly impressive \ngiven the provenance of the issue. He seems to have an instinctive grasp\n of the light and shade (there is light) of the score, and his \nrealization of Strauss’s harmonic points have just the right amount of \ngive for them to register fully without degenerating into point-making. \nThe foregrounded percussion at the outset of Salome’s Dance is somewhat \nsurprising; the way Keilberth slides into the dance itself via the \nslithery bass figures more than compensates, as does the way he paces it\n inexorably towards its climax as if it were a Ravel \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n viewed through a hallucinogenic kaleidoscope. Keilberth shapes the \nfinal portion of the opera like a master, increasing the horror of the \nunfolding story (listen to the vivid bass, perfectly retained here in \nthis issue, around “Ach ich habe deinen Mund geküssst,” towards the end \nof the opera: The hollowness of that bass, the sparseness of the texture\n and the desolate wind figurations tell the whole story. The Modernist \nshrieks of the final pages are viscerally rendered. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was issued on Decca LXT2917, produced by Victor Olof. Recorded in \nDecember 1953 in the Grosser Musikverein, this is a much undervalued \nscore (I for one have yet to hear it live), yet it holds much of value. \nKrauss is here fortunate to have the golden sound of the Vienna \nPhilharmonic at his disposal: Listen to how the opening of the first \nmovement, “Auf der Campagna,” glows with an inner light. The long violin\n lines are dripping with affection above a lush carpet of an \naccompaniment. There is no sense of apology for the youth of the \ncomposer here (it was written in 1887). One can discern the great \norchestrator (try the opening of the third movement, “Am Strande con \nSorrent”), and many Strauss fingerprints are there (the rhythmic figures\n of the second movement, “In Roms Ruinen,” for example, given with such \naccuracy by the Vienna players). The score is, at many points, simply \nmagical and has lain in the shadow of the more famous tone poems for far\n too long. Keilberth is a miraculous guide, allowing the lines to \nbreathe naturally. The explosion of the finale (“Neapolitanisches \nVolksleben”) uses a tune by Denza (you’ll know it, for sure) which \napparently Strauss mistook for a Neapolitan folk tune. The finale is in \nfact delightful through and through, bathed in Italian sunshine filtered\n through Strauss. Interpreted by the VPO, who could ask for more? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO111.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKeilberth and Krauss conduct a Richard Strauss double bill: Salome \u0026amp; Aus Italien\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Strauss\n wanted Mendelssohn-like textures in his Salome. These Keilberth, one of\n the last conductors to work with the composer, provides...\" - \nGramophone\u003cbr\u003e\u003cbr\u003e\"I don’t know of any record that sounds better than this highly recommended one of Aus Italien\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs live staged opera recordings of the era go, the 1951 Keilberth \u003cem\u003eSalome\u003c\/em\u003e\n was remarkably successful., giving me plenty to work from. This XR \nremastering has dealt with the rather constricted sound of the original,\n bringng out depth, a sense of space, and a sparkling top end that makes\n a huge difference to the dramatic impact of the performance. This had \nthe unexpected bonus of improving the perceived balance between singers \nand orchestra to a significant degree, all of which is of great benefit \nto the overall impression of drama and what Gramophone's reviewer called\n a \"vital sense of occasion\".\u003c\/p\u003e\u003cp\u003eI've coupled it with Krauss's 1954 \u003cem\u003eAus Italien\u003c\/em\u003e at least \npartly because the works fit well onto two discs - there was no suitable\n Keilberth Strauss recording to fulfill this role. The Decca studio \nrecording was indeed excellent for its day, but the tone was a little \nthin, especially at the bottom end. Again, though, I had a good start, \nand the full, beautiful tone of the Vienna Philharmonic can now be heard\n to great effect in one of Clemens Krauss's final recording sessions.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eSalome, Op. 54\u003c\/span\u003e\n\u003cp\u003eInge Borkh (Salome)\u003cbr\u003eHans Hotter (Jokanaan)\u003cbr\u003eMax Lorenz (Herodes)\u003cbr\u003eIrmgard Barth (Herodias)\u003cbr\u003eLorenz Fehenberger (Narraboth)\u003cbr\u003eKatja Sabo (Page)\u003cbr\u003eKarl Ostertag, Peter Kaussen, Georg Binder, Walther Carnuth, Rudolf Wünzer (Fünf Juden)\u003cbr\u003eMax Proebstl (Erste Nazarener)\u003cbr\u003eAlbrecht Peter (Zweite Nazarener)\u003cbr\u003eAdolf Keil (Soldat)\u003cbr\u003eFritz Friedrich (Soldat), \u003cbr\u003eKarl Hoppe (Cappadozier)\u003c\/p\u003e\n\u003cp\u003eBavarian State Opera Orchestra \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJoseph Keilberth\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLive stage performance, Munich Festival Hall, 21 July 1951\u003cbr\u003eTransfer from Melodram MEL-S 106 (2) \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eAus Italien, Op. 16\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVienna Philharmonic Orchestra \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eClemens Krauss\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded December 1953, Grosser Saal, Musikverein, Vienna\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Cyril Windebank\u003cbr\u003eIssued as Decca LXT.2917\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO111.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO111.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":31975707341,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975707469,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975707597,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975707725,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO111_a946381f-3c88-427c-94ab-6057dd06272d.jpg?v=1487682284"},{"product_id":"pasc419","title":"KLEMPERER \u0026 BLECH conduct Richard Strauss (1928\/29) - PASC419","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Juan\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTill Eulenspiegel’s Merry Pranks\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSalome – Dance of the Seven Veils\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Bourgeois Gentilhomme – Intermezzo\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDeath and Transfiguration\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Rosenkavalier – Waltzes\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1928\/29\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 69:5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeo Blech, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin State Opera Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe natural ascent of the musical line to a rarified transcendence occurs fluidly and spaciously, the string tone from the BSOO having retained its lustrous glow578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5fDespite a relatively late start in music, Leo Blech (1871-1958) mastered piano and \u003ci\u003ecomposition\u003c\/i\u003e\n studies, with, among others, Engelbert Humperdinck. In 1893 he became \nthe conductor of the Stadttheater (Municipal Theater) in Aachen. He \ncontinued his work with Humperdinck during the summers of 1893 to 1896. \nHe left Aachen in 1899 to become the\u003ci\u003e conductor\u003c\/i\u003e of the German \u003ci\u003eopera \u003c\/i\u003etheater in Prague. In 1906, he became a \u003ci\u003econductor\u003c\/i\u003e at the Berlin Royal \u003ci\u003eOpera\u003c\/i\u003e\n (Königliche Kapelle) and was appointed its general music director in \n1913. Ten years later, he moved over to become the artistic director of \nthe Deutsches Opernhaus, Berlin. In 1924, he went to Berlin’s third \u003ci\u003eopera\u003c\/i\u003e company, the Berlin Volksoper and in 1925 to the Vienna Volksoper.\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eHe returned to Berlin in 1926 to conduct the Staatsoper. Despite \nbeing a Jew, he remained in that position until 1937. Perhaps luckily, \nhe was guest conducting in Riga, Latvia, when it became clear that it \nwas unsafe to return home. He found a position as conductor at the Riga \nOpera House. The Soviet Union absorbed Latvia and the other Baltic \nstates, which were then overrun by German forces in 1941. Blech left \nahead of the Nazi army and settled in Stockholm, where he was known \nthrough his guest appearances. He obtained a position at the Stockholm \nRoyal \u003ci\u003eOpera,\u003c\/i\u003e remaining there until 1949. He returned to East Berlin in 1949 to become conductor of the Städtische Oper (Municipal \u003ci\u003eOpera\u003c\/i\u003e) until his retirement in 1953.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMark Obert-Thorn restores Blech’s 1928-1929 Electrola inscriptions of\n music by Richard Strauss, itself a rare privilege, since most of \nBlech’s legacy remained restricted to \u003ci\u003eopera\u003c\/i\u003e excerpts, with the exception of \u003ci\u003econcerto\u003c\/i\u003e work with Fritz Kreisler. The 18 October 1929 inscription of the 1917 \u003ci\u003eIntermezzo\u003c\/i\u003e from \u003ci\u003eLe Bourgeois Gentilhomme\u003c\/i\u003e\n enjoys a wistful lightness quite transparent and easily akin to the \ntreatment this neo-Baroque music receives from Clemens Krauss. The \u003ci\u003eRosenkavalier Dances\u003c\/i\u003e\n (12 December 1928) bask in Old-World elegance invested with impish \npuffery and aristocratic flirtation. The breadth of the occasional \noutburst reminds us of equally potent renditions by Erich Kleiber.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThe Death and Transfiguration\u003c\/i\u003e (15 October and 7 November 1928) sets the early violin solo against a warm series of \u003ci\u003echords\u003c\/i\u003e\n in the harps and woodwinds that by any standard remains remarkably \nilluminated and rife with imminent terror by way of the tympani part. \nThe transitions to the various upheavals and paroxysms of the dying man \ninject pungent energy – especially in the BSOO horns – informed by a \ndistinct sense of panic. The\u003ci\u003e tempos\u003c\/i\u003e, even in the amorous or \nreflective passages, achieve a controlled hysteria which miraculously \ndoes not smear the elegance of the vocal line. The natural ascent of the\n musical line to a rarified transcendence occurs fluidly and spaciously,\n the string tone from the BSOO having retained its lustrous glow.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOtto Klemperer (1885-1973) enjoyed direct sponsorship from Richard Strauss as well as Gustav Mahler. His performances of \u003ci\u003eDon Juan\u003c\/i\u003e (28 June and 25 October 1929) and \u003ci\u003eTill Eulenspiegel\u003c\/i\u003e (3, 24 June 1929) for Parlophone belie his later reputation for slow, moribund \u003ci\u003etempos.\u003c\/i\u003e Klemperer intends to make \u003ci\u003eDon Juan\u003c\/i\u003e\n a whirlwind affair, displaying his pungent brass and brilliant string \nensemble. The erotic elements in the score, however, retain their \nallure. BSOO intonation, crisp and free of rhetorical portamentos, moves\n with directness and elastic brio. The celesta substitution for the \nglockenspiel makes for an exotic moment of color, a la \u003ci\u003eThe Nutcracker\u003c\/i\u003e.\n The climactic moments have resonance and conviction, if not the \nexaltation that Koussevitzky achieves, but the denouement proves \neffective.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eKlemperer’s \u003ci\u003eTill Eulenspiegel\u003c\/i\u003e moves equally briskly, even \nwhile retaining the fairy-tale charm in its opening measures, girded by a\n solid French horn and puckish woodwinds. The series of picaresque \nadventures moves with breezy security, the performance intent on \nproviding the color details – in \u003ci\u003erondo form\u003c\/i\u003e – of Till’s various \npranks that lead to his inglorious hanging. The piercing D clarinet well\n signifies first Till’s disbelief in his own fate and then his shriek of\n tragic recognition.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBrilliant colors in \u003ci\u003eC-sharp Major\u003c\/i\u003e announce Salome’s devastating \u003ci\u003eDance of the Seven Veils\u003c\/i\u003e\n (rec. 25 May 1928), as she prepares to seduce Herod into consenting to \nbehead John the Baptist. Appropriately erotic and increasingly wild, the\n \u003ci\u003eDance\u003c\/i\u003e under Klemperer achieves its perverse, frenzied convulsion\n with smoothly classical control. It took Mitropoulos to arrange my \npersonal goose bumps in this music.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC419.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKlemperer and Blech - complete 78rpm-era Richard Strauss recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This new one draws a good line, and its colour is admirably laid on by Klemperer...\" - The Gramophone, 1930\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"western\"\u003eThe present release brings together the complete \nRichard Strauss orchestral music recorded during the 78 rpm era by Otto \nKlemperer and Leo Blech. Although Blech also recorded some Strauss aria \nand song accompaniments, these were his only versions of the composer’s \npurely orchestral repertoire, while Klemperer would go on to re-record \nhis items and more for stereo LPs three decades later. Neither, however,\n left enough from the shellac era to fill out a CD, so it seemed fitting\n in this Strauss sesquicentennial year to combine them in one place.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eKlemperer’s recordings impress with their vitality (these must be among the fastest performances of \u003cem\u003eDon Juan\u003c\/em\u003e and \u003cem\u003eTill\u003c\/em\u003e\n on disc) and a surprisingly modern approach, both in terms of \ninterpretation and ensemble playing. There are no rhetorical gestures \nwhich call attention to themselves, and neither are there very many of \nthe string slides we associate with the prewar era. While he was not \nwell-served by Parlophon’s choice of venue or engineering, the clarity \nof the recordings do allow us to hear details often buried (including \nthe substitution of a celesta for the glockenspiel in \u003cem\u003eDon Juan\u003c\/em\u003e \n[Track 1, 9:06–9:10], something he would not repeat in his 1960 \nPhilharmonia remake). By contrast, his sole recording here by the HMV \nteam sounds much more naturally balanced.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eBlech, who was Klemperer’s senior by fourteen years, \nis more of the old school in terms of elastic tempi and orchestral \nplaying. His \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e is a rare opportunity to\n hear him in an extended work, as he was usually relegated to conducting\n overtures and short pieces on disc.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThe sources for the transfers were early British Parlophones for \u003cem\u003eDon Juan\u003c\/em\u003e; Australian Parlophones for \u003cem\u003eTill\u003c\/em\u003e; German Electrolas for \u003cem\u003eSalome\u003c\/em\u003e, \u003cem\u003eBourgeois Gentilhomme\u003c\/em\u003e and \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e; and an Australian HMV for the \u003cem\u003eRosenkavalier\u003c\/em\u003e disc.\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Don Juan, Op. 20\u003c\/span\u003e\u003cbr\u003eRecorded 28 June \u0026amp; 25 October 1929 in Berlin\u003cbr\u003eMatrix nos: 2-21523, 2-21524-2, 2-21615 \u0026amp; 2-21616\u003cbr\u003eFirst issued on Parlophon 9495\/96\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e Till Eulenspiegel’s Merry Pranks, Op. 28\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eRecorded 3 \u0026amp; 24 June 1929 in Berlin\u003cbr\u003eMatrix nos.: 2-21452, 2-21453, 2-21513 \u0026amp; 2-21514\u003cbr\u003eFirst issued on Parlophon 9858\/60\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eSalome, Op. 54 – Dance of the Seven Veils\u003c\/span\u003e\u003cbr\u003eRecorded 25 May 1928 in the Philharmonie, Berlin\u003cbr\u003eMatrix nos.: CLR 4212-1 \u0026amp; 4213-2\u003cbr\u003eFirst issued on Electrola EJ 276\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eBerlin State Opera Orchestra · Otto Klemperer \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eLe Bourgeois Gentilhomme, Op. 60 – Intermezzo\u003c\/span\u003e\u003cbr\u003eRecorded 18 October 1929 in Berlin\u003cbr\u003eMatrix no.: CLR 5631-1\u003cbr\u003eFirst issued on Electrola EJ 478\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eDeath and Transfiguration, Op. 24\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 15 October \u0026amp; 7 November 1928 in Berlin\u003cbr\u003eMatrix nos.: CLR 4618-4, 4619-1, 4620-1, 4716-1 \u0026amp; 4717-2\u003cbr\u003eFirst issued on Electrola EJ 476\/78\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eDer Rosenkavalier, Op. 59 – Waltzes \u003c\/span\u003e \u003cbr\u003eRecorded 12 December 1928 in Berlin\u003cbr\u003eMatrix nos.: CLR 4851-2 \u0026amp; 4852-2\u003cbr\u003eFirst issued on Electrola EH 350\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBerlin State Opera Orchestra · Leo Blech \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC419.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC419.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31975722189,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975722253,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC419_fcb82b71-6d66-4327-9766-0a49fec9e0db.jpg?v=1487682295"},{"product_id":"pasc309","title":"KRAUSS conducts Richard Strauss (1950) - PASC309","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Also sprach Zarathustra\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Juan\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 63:41\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eClemens Krauss, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe orchestra had these works in its blood578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5fReview of \u003cb\u003ePASC309\u003c\/b\u003e and \u003cb\u003ePASC311\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cli\u003e\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese two discs showcase the conductor \nwho was, more than any other, closely identified with Richard Strauss’s \nmusic during his lifetime. The first is a selection from the extensive \nseries he recorded with the Vienna Philharmonic for Decca in the early \n1950s. These recordings have previously appeared on CD, on four \nTestament discs, remastered from the original tapes. For the present \nrelease, Andrew Rose has drawn on LP incarnations in Decca’s Ace of \nClubs line (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) and Eclipse series from the 1970s (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n the latter associated with the now thoroughly discredited technique of \nfake stereo processing, which, as Rose readily admits, was a sonic \ndisaster. His restoration involved “negating the fake stereo (and \nremoving any phase errors it introduced) and then re-equalizing in XR \nprocessing.” While the results thankfully undo the egregious damage \ninflicted by the Eclipse fake stereo, the question is how they compare \nwith the Testament discs. Another difference is the pitch; according to \nRose, “extensive frequency readings both of the music and the electrical\n mains hum indicate that Krauss was using a tuning of A = 449Hz, and \nthis has been restored to the final masters.” This is fascinating, \nthough I don’t entirely understand his reasoning and wish he’d \nelaborated a little more on it. It does make for a markedly sharper, \nbrighter sound. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eQuestions of pitch aside, I find the new transfers a mixed success. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n quieter passages come across as recessed, grainy, and lacking presence;\n the recordings then suddenly come to life in the loud passages. In \ncomparison, the Testament transfers consistently score higher on \nsolidity, presence, and sense of hall acoustic. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n taken from Ace of Clubs, fares somewhat better, a pleasingly mellow \nsonic blend, but again lacking the impact (though also taming the early \nDecca “fizzy” quality) of the Testament. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the performances, they need \nlittle comment from me. They are classics of the gramophone, unsurpassed\n in their natural, idiomatic Viennese character. The orchestra had these\n works in its blood—virtuoso writing is dispatched with finesse and an \nalmost insolent sense of poise and equanimity, even at the fastest \ntempos; ensemble is taut and trenchantly articulate; tuttis have a \ngolden, saturated, but always transparent sound; wind solos possess a \nstriking “speaking” quality. Fine as other conductors are in this music,\n with the same orchestra (including Strauss himself in 1944 [Preiser], \nand Decca’s later stereo series with Karajan in 1959–60), Krauss remains\n interpretively in a class of his own. No one brings out the heady waltz\n in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e the scherzando swagger in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e or the picaresque wit in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e quite like this. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy recommendation for these \nperformances would remain the Testament discs. But these may be hard to \nfind now, in which case the new Pristine will do very nicely. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo such reservations about the second \ndisc, which gathers three recordings made in Bamberg for Bavarian Radio \nin 1953–54. Although not intended for commercial release, they were \npublished in the 1960s by Philips, whose LPs have been used for the \npresent remastering. The sound is excellent for its time and radio \norigin. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n came out a few years back on Preiser, but Pristine’s transfer is \npreferable, slightly noisier but more open. The performance is paced \nvery naturally, less febrile than some, clearly articulated with a \nfull-throated vocal quality that is very involving. The string playing \nis totally committed, if not always as polished as some bigger-name \norchestras. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe other two performances are new to me. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n waltzes are dispatched with an easy authority and a memorably fruity, \nearthy response from the Bavarian players. The Divertimento is a real \nrarity, the second and lesser-known of Strauss’s two orchestral suites \nbased on Couperin’s music. It is a substantial work of about 36 minutes,\n in eight movements, and drawing on 17 keyboard pieces. Strauss clearly \nrelished the music’s harmonic and contrapuntal originality, as well as \nits luxuriance of embellishment. His orchestration (for chamber \norchestra, including harpsichord!) is subtle and inventive, in \nwide-ranging reconceptions of the originals involving thickening of \nCouperin’s spare keyboard textures, harmonic filling out, and addition \nof contrapuntal lines (often with a teasing three-against-two rhythmic \nplay). Although the Bamberg orchestra is not always flawless, Krauss’s \ndirection is ideally light and stylish. An indispensable supplement to \nhis Decca recordings. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC309.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eClemens Krauss conducts some of the finest of his friend Richard Strauss\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Classics of the gramophone, unsurpassed in their natural, idiomatic Viennese character\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eThe recordings of\u003ci\u003e Also sprach Zarathustra \u003c\/i\u003eand \u003ci\u003eTill \nEulenspiegel \u003c\/i\u003ewere both drawn from Decca's 1970 Eclipse reissue, whereas \n\u003ci\u003eDon Juan\u003c\/i\u003e was transferred from their Ace of Clubs disc. Both presented \nissues that have only been resolvable with the latest remastering \ntechnology.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Eclipse LP combines a superior pressing with some \nreally awful fake stereo processing, which serves to present a \nparticularly nasty, boxy sound. By negating the fake stereo (and \nremoving any phase errors it introduced) and then re-equalising in XR \nprocessing, a much fuller, clearer and more extended sound picture \nemerged, demonstrating what marvellous performances had been captured in\n 1950.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMeanwhile Don Juan, whilst in better sound on the \nearlier mono pressing, showed most clearly the fact that these recording\n had been made with 78rpm discs in mind - the central section \n(equivalent to two 78rpm sides) was pitched significantly sharper than \nthe two outlying sides. This has been corrected with Capstan pitch \nstabilisation processing. Elsewhere I've attempted to improve poor side \njoins, but one remains unfortunately obvious in Zarathustra.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, extensive frequency readings both of the music \nand the electrical mains hum indicate that Krauss was using a tuning of \nA=449Hz, and this has been restored to the final masters presented here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Also sprach Zarathustra, Op. 30\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 12-13 June, 1950 \u003cbr\u003eFirst issued as Decca 78s KX283554-58 and Decca LP LXT2548 in 1950\/51\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Don Juan, Op.20\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche, Op. 28\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 16 June, 1950 \u003cbr\u003eFirst issued as Decca 78s KX28364-67 and Decca LP LXT2549 in 1950\/51\u003cbr\u003e\u003cbr\u003eTransfers from Decca ACL 16 (Don Juan) and ECS 572 (Zarathustra, Till Eulenspiegel)\u003cbr\u003eRecording location: Grosser Saal, Musikverein, Vienna\u003cbr\u003eRecording producer: Victor Olof\u003cbr\u003eRecording Engineer: Cyril Windemank \u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eVienna Philharmonic\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eClemens Krauss\u003c\/b\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, September-October 2011\u003cbr\u003eCover artwork based on a photograph of Clemens Krauss with Richard Strauss\u003cbr\u003eTotal duration: 63:41\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32483452941,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32483453005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32483453133,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC309_b8edcc75-4b84-4023-9b35-b03e5ccd75bd.jpg?v=1658306944"},{"product_id":"paco021","title":"KRAUSS R. Strauss: Ariadne auf Naxos (1935) - PACO021","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Adriadne auf Naxos\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1935\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 79:35\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoloists\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7756D0\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchester des Reichssenders Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eClemens Krauss, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO021.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKrauss conducts Richard Strauss' Ariadne auf Naxos\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAstonishing sound quality from this 1935 broadcast performance\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"\u003cem\u003eHi Andrew - I was listening to a recording last night which I \nthought would be a wonderful candidate for your great restorations. The \n1935 Ariadne broadcast (opera only) under Clemens Krauss. It has some \nelements that have not been equaled since - the Zerbinetta of Erna \nBerger (so charming - quite unlike the pseudo-Olympia we often get) the \nBacchus of Helge Roswange (no real competion from ANYONE) and the \nconducting of Krauss ( he breathes with the singers in a way I rarely \nhear). The Ariadne is Ursuleac - ungainly but exciting in the climaxes. \n The sound even on the transfer I have isn;t bad and Krauss conception \ncomes through but it could use some work...\u003c\/em\u003e\" - RL\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThus began this particular project, with the first of many \ne-mails from a music-lover in America. I was intrigued and soon got to \nwork. Over the following weeks the restoration gradually took shape as I\n battled surface noise and the difficulties of re-equalisation. At \nalmost the very last minute everything suddenly snapped into sonic focus\n and the glory of this wonderful recording was finally revealed - always\n a moment of magic when you've battled for so long over a restoration \nsuch as this. I was glad to send the following reply to my \ncorrespondent:\u003cbr\u003e\u003cbr\u003e If I say so myself, this is now sounding pretty stunning! \u003cbr\u003e \u003cbr\u003e\n I had cut a section from my previous e-mail which suggested that I was \nunhappy with the results thus far achieved, and since sending it I've \nbeen out on the Net seeking an alternative reference for final EQ \ntweaking this afternoon, finally plumping for a recording on iTunes. The\n effect of using this was quite magical - and I've come to know when \nI've got it right, because something happened here which has happened in\n other recordings when the EQ is switched in: although the recording is \nof course mono, there's an illusion of spread where previously the sound\n was tight and restricted. It's hard to explain, but you'd really think \nyou were switching in a stereo effect, instead of simply changing the \ntonal balance - suddenly everything sits properly in place, it sounds \nreal, and I know it's spot on, or at least as close as I'll ever get. I \ncan't wait to get a copy to you - it's really superb now!\u003cbr\u003e\u003cem\u003e\u003cbr\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cb\u003eR. STRAUSS \u003c\/b\u003eAriadne auf Naxos\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003cbr\u003eAriadne (Primadonna): \u003cb\u003eViorica Ursuleac\u003c\/b\u003e\u003cbr\u003eBacchus: \u003cb\u003eHelge Rosvaenge\u003c\/b\u003e\u003cbr\u003eBrighella: \u003cb\u003eErich Zimmermann\u003c\/b\u003e\u003cbr\u003eDryade: \u003cb\u003eGertrude Rünger\u003c\/b\u003e\u003cbr\u003eEcho: \u003cb\u003eIlona Hollendonner\u003c\/b\u003e\u003cbr\u003eHarlekin: \u003cb\u003eKarl Hammes\u003c\/b\u003e\u003cbr\u003eNajade: \u003cb\u003eMiliza Korjus\u003c\/b\u003e\u003cbr\u003eScaramuccio: \u003cb\u003eBenno Arnold\u003c\/b\u003e\u003cbr\u003eTruffaldino: \u003cb\u003eEugen Fuchs\u003c\/b\u003e\u003cbr\u003eZerbinetta: \u003cb\u003eErna Berger \u003c\/b\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cb\u003eOrchester des Reichssenders Berlin\u003cbr\u003e Clemens Krauss, \u003c\/b\u003econductor\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eRecorded 11th June, 1935, Saal 1, Belin\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, Sept 2007\u003cbr\u003eDuration 79:35\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO021.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO021.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 16-bit FLAC","offer_id":214010331162,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":214010363930,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":214010429466,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO021.jpg?v=1502874990"},{"product_id":"pasc311","title":"KRAUSS Richard Strauss Radio Recordings (1953\/4) - PASC311","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Metamorphosen\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Waltzes from 'Der Rosenkavalier'\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Divertimento\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1953 \u0026amp; 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:21\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBamberg Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eClemens Krauss, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPaced very naturally, clearly articulated with a full-throated vocal quality that is very involving578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eReview of \u003cb\u003ePASC309\u003c\/b\u003e and \u003cb\u003ePASC311\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese two discs showcase the conductor \nwho was, more than any other, closely identified with Richard Strauss’s \nmusic during his lifetime. The first is a selection from the extensive \nseries he recorded with the Vienna Philharmonic for Decca in the early \n1950s. These recordings have previously appeared on CD, on four \nTestament discs, remastered from the original tapes. For the present \nrelease, Andrew Rose has drawn on LP incarnations in Decca’s Ace of \nClubs line (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) and Eclipse series from the 1970s (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n the latter associated with the now thoroughly discredited technique of \nfake stereo processing, which, as Rose readily admits, was a sonic \ndisaster. His restoration involved “negating the fake stereo (and \nremoving any phase errors it introduced) and then re-equalizing in XR \nprocessing.” While the results thankfully undo the egregious damage \ninflicted by the Eclipse fake stereo, the question is how they compare \nwith the Testament discs. Another difference is the pitch; according to \nRose, “extensive frequency readings both of the music and the electrical\n mains hum indicate that Krauss was using a tuning of A = 449Hz, and \nthis has been restored to the final masters.” This is fascinating, \nthough I don’t entirely understand his reasoning and wish he’d \nelaborated a little more on it. It does make for a markedly sharper, \nbrighter sound. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eQuestions of pitch aside, I find the new transfers a mixed success. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n quieter passages come across as recessed, grainy, and lacking presence;\n the recordings then suddenly come to life in the loud passages. In \ncomparison, the Testament transfers consistently score higher on \nsolidity, presence, and sense of hall acoustic. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n taken from Ace of Clubs, fares somewhat better, a pleasingly mellow \nsonic blend, but again lacking the impact (though also taming the early \nDecca “fizzy” quality) of the Testament. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the performances, they need \nlittle comment from me. They are classics of the gramophone, unsurpassed\n in their natural, idiomatic Viennese character. The orchestra had these\n works in its blood—virtuoso writing is dispatched with finesse and an \nalmost insolent sense of poise and equanimity, even at the fastest \ntempos; ensemble is taut and trenchantly articulate; tuttis have a \ngolden, saturated, but always transparent sound; wind solos possess a \nstriking “speaking” quality. Fine as other conductors are in this music,\n with the same orchestra (including Strauss himself in 1944 [Preiser], \nand Decca’s later stereo series with Karajan in 1959–60), Krauss remains\n interpretively in a class of his own. No one brings out the heady waltz\n in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e the scherzando swagger in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e or the picaresque wit in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e quite like this. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy recommendation for these \nperformances would remain the Testament discs. But these may be hard to \nfind now, in which case the new Pristine will do very nicely. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo such reservations about the second \ndisc, which gathers three recordings made in Bamberg for Bavarian Radio \nin 1953–54. Although not intended for commercial release, they were \npublished in the 1960s by Philips, whose LPs have been used for the \npresent remastering. The sound is excellent for its time and radio \norigin. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n came out a few years back on Preiser, but Pristine’s transfer is \npreferable, slightly noisier but more open. The performance is paced \nvery naturally, less febrile than some, clearly articulated with a \nfull-throated vocal quality that is very involving. The string playing \nis totally committed, if not always as polished as some bigger-name \norchestras. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe other two performances are new to me. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n waltzes are dispatched with an easy authority and a memorably fruity, \nearthy response from the Bavarian players. The Divertimento is a real \nrarity, the second and lesser-known of Strauss’s two orchestral suites \nbased on Couperin’s music. It is a substantial work of about 36 minutes,\n in eight movements, and drawing on 17 keyboard pieces. Strauss clearly \nrelished the music’s harmonic and contrapuntal originality, as well as \nits luxuriance of embellishment. His orchestration (for chamber \norchestra, including harpsichord!) is subtle and inventive, in \nwide-ranging reconceptions of the originals involving thickening of \nCouperin’s spare keyboard textures, harmonic filling out, and addition \nof contrapuntal lines (often with a teasing three-against-two rhythmic \nplay). Although the Bamberg orchestra is not always flawless, Krauss’s \ndirection is ideally light and stylish. An indispensable supplement to \nhis Decca recordings. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC311.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eClemens Krauss's mastery of Strauss evident in these radio recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Krauss’s direction is ideally light and stylish. An indispensable supplement to his Decca recordings\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThese recordings were made in the studios of Bavarian \nRadio for broadcast in the early 1950s, and emerged on 1960s LPs from \nPhilips. The notes to one of these discs includes the following text: \n\"These recording [sic.] were not made expressly for the gramophone, yet \neven if the recording quality does not come up to the standard of \nperfection one is accustomed to nowadays, it seemed well worth while \nrescuing them from the oblivion of radio archives, in the belief that \nthe public will be eager to appreciate the authenticity of performances \nby a conductor so intimately connected with Richard Strauss.\"\u003c\/p\u003e\u003cp class=\"body\"\u003eMy\n aim in applying modern 32-bit XR remastering techniques to these \nrecordings, was to do away with Philips' \"recording quality\" caveat as \nmuch as is now possible, and I'm glad to say that in all three cases \nmajor improvements in sound quality have been achieved. Gone is the \nboxy, veiled tone of the originals, and in its place is a full, clear \nsound that would bear comparison to the finest recordings of the era.\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Metamorphosen\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 21 January 1953\u003cbr\u003eTransfer from Philips GL 5844\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Waltzes from 'Der Rosenkavalier'\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 22 January 1953\u003cbr\u003eTransfer from Philips GL 5843\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Divertimento Op. 86 \u003cbr\u003eSuite based on clavier pieces by François Couperin\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 7 April 1954\u003cbr\u003eTransfer from Philips GL 5843\u003cbr\u003e\u003cbr\u003eRecorded by Bavarian Radio\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eBamberg Symphony \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eOrchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eClemens Krauss\u003c\/b\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, October 2011\u003cbr\u003eCover artwork based on a photograph of Clemens Krauss with Richard Strauss\u003cbr\u003eTotal duration: 76:21\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC311.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC311.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003eDivertimento\u003c\/strong\u003e (original sleevenotes)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eStrauss' second Suite based on clavier pieces by Francois Couperin appeared as Opus 86, and entitled \u003cstrong\u003eDivertimento\u003c\/strong\u003e.\n Its very existence is due to Krauss who first performed it in Munich in\n 1941 as a ballet called \"Verklungene Feste\". A concert performance, \nwith Krauss conducting the Vienna Philharmonic Orchestra, followed in \nVienna in 1943.\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eOn January 4, 1941 Krauss \nwrote to Strauss: \"Just back from Vienna to find the first Couperin \ninstalment, and the second followed today. I am so glad you have \naugmented the Suite for us, and I thank you with all my heart for all \nthe trouble you have taken over it. The scoring of the individual pieces\n is absolutely masterly, and their contrasted sequence is most \neffective\".\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePhilips LP \u003c\/strong\u003eGL 5843\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHistoric review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eNo Strauss devotee will need prompting from\n me to acquire Clemens Krauss's interpretation of Melamorphosen. This \nelegiac masterpiece came to pass after the destruction of the Munich \nNational Theatre by Allied bombs. Krauss at the time was the theatre's \ndirector. There, two years earlier, he had conducted the first \nperformances of Capriccio. This music, therefore, spoke for him almost \nas poignantly as it did for Strauss and we can feel this empathy in his \nnoble reading. The 1953 recording is bass-heavy and textures are not as \nclearly-defined as we expect today, nor are the Bamberg strings as silky\n and supple as those of the Berlin and Vienna orchestras, but they \nrespond to Krauss's direction with eloquence and dignity\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eM.K., Gramophone magazine,\u003c\/strong\u003e September 1988\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":36516999821,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":36516999885,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":36516999949,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":36517000077,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC311_40ff9eb6-0059-4483-b0ca-fcc36d0d8ef7.jpg?v=1493109503"},{"product_id":"paco036","title":"LEHMANN R. Strauss: Der Rosenkavalier (1933) - PACO036","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Rosenkavalier (abridged)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20-24 September, 1933\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 118:26 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eLehmann, Olszewska, Mayr, Schumann\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e et al\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Robert Heger\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNo one who loves this music can afford to be without this recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eRecorded almost eighty years ago it is remarkable how much information \n                  was hidden on the twenty-six shellac sides. In his technical \n                  notes on the Pristineclassical website Andrew Rose claims to \n                  have opened up the top end of the frequency range to somewhere \n                  around 10kHz through use of with the use of XR technology. That’s \n                  ‘roughly double the expected frequency response for a set of \n                  78s’. The risk is that there are also hidden shortcomings, primarily \n                  ‘the dreaded swish’. Today it is possible to eliminate swish \n                  without affecting the music - but it has to be done one swish \n                  at a time and on this set it is a question of more than 9000! \n                  Obviously it’s a very laborious task. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Eight years ago \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Nov02\/RichardSTRAUSSrosenk.htm\"\u003eNaxos\u003c\/a\u003e \n                  issued this set, restored by Mark Obert-Thorn; also on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Mar04\/Strauss_Rosenkavalier_Andante.htm\"\u003eAndante\u003c\/a\u003e. \n                  Since then there have been important technological advances. \n                  Unfortunately I haven’t had access to that earlier set, but \n                  I have several snippets from this legendary recording on various \n                  LPs and the difference is amazing. First and foremost we hear \n                  so much more of the orchestra. The introduction, so magically \n                  scored, now unfolds with a clarity and richness of detail that \n                  one couldn’t have dreamed were inherent in the old shellacs. \n                  The velvety strings of the Vienna Philharmonic caress the ear \n                  with marvellous warmth and the pizzicato playing in the introduction \n                  to act III is extraordinarily well-defined. The delicious final \n                  bars are also pin-point clear. The voices are well defined and \n                  even though dynamics are limited compared to more recent efforts \n                  there is an overall quality that should make this issue attractive \n                  even to those who normally are allergic to historical recordings. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  The performance in itself is a true classic and it has been \n                  hailed uncountable times. Let me just add to the laurels heaped \n                  upon it with a few personal notes. It is heavily cut, so heavily \n                  that it is not even an abridged version but ‘Selected passages’ \n                  as the header correctly states. The whole reception scene in \n                  act I is gone, thus also the Italian tenor’s \u003ci\u003eDi rigori armato.\u003c\/i\u003e \n                  Great portions of Baron Ochs’s boisterous behaviour in act II \n                  are also cut as well as much else. An uncut performance takes \n                  a little more than three hours; this one plays for 98:26, not \n                  118:26 as stated on the inlay. In other words about half the \n                  score is cut out. What remains offers what is indubitably the \n                  best of the opera, very much concentrated around the four leading \n                  characters. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Of these Richard Mayr, who was nearing the end of a more than \n                  30-year-long career and died only two years later, was a little \n                  past his best. His tone had dried out compared to what he sounded \n                  like a decade earlier. He was however \u003ci\u003ethe \u003c\/i\u003eOchs of his \n                  time in Vienna, where he sang in the first performance on 8 \n                  April 1911. By 1933 he had chiselled out a many-faceted portrait \n                  that made the character less bullish, more likeable than he \n                  actually is. Whether this is good or bad is open to debate. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  Lotte Lehmann and Elisabeth Schumann, arguably the two best \n                  sopranos in the Austro-German repertoire during the years after \n                  WW1, were still at the zenith of their careers. Both incidentally \n                  were born the same year, 1888, and thus in their mid-forties. \n                  Lehmann has never been surpassed in the role of Feldmarschallin \n                  – though Elisabeth Schwarzkopf was her equal. Hers is a portrait \n                  of deep insight and sensitivity. Schumann is possibly the most \n                  charming Sophie ever and though there are imperfections – the \n                  odd note off-pitch, some exaggerated portamenti – this is negligible \n                  in the face of such identification and loveliness. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Maria Olszewska’s Octavian is not quite in their class. She \n                  sings well and her round and darkish tone is well contrasted \n                  to the two sopranos’ but as an interpreter she is anonymous, \n                  compared to some later singers of the role: Christa Ludwig, \n                  Yvonne Minton, Frederica von Stade and Anne Sofie von Otter. \n                  That said, in the duets and trios she is a rock-solid complement \n                  to the lighter and brighter voices and the finale is a vocal \n                  treat from beginning to end. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Robert Heger may have been an able rather than extraordinary \n                  conductor, but he seems to have been particularly fond of this \n                  score and draws lovely playing from the admirable Vienna Philharmonic. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  No one who loves this music can afford to be without this recording \n                  and with the new-dimensional sound that Andrew Rose has conjured \n                  up from the old records there is further reason to procure this \n                  pair of Pristine Audio discs. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eGöran Forsling\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO036.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe classic 1933 Lehmann abridged Rosenkavalier\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIn astonishingly open and vibrant XR-remastered sound\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe twenty-six sides which go to make up this recording \nare not the easiest to remaster. In his notes for the Naxos 2002 issue \nof the recording, Mark Obert-Thorn wrote: \"Although recorded over a \nfive-day period on twenty-six consecutive sides by HMV, this legendary \nabridged version of \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e poses many problems for \nthe restoration engineer.\" And a few days ago he confirmed this to me by\n e-mail: \"my source discs ... came from about a half-dozen different \ncopies (Victor Z, Victor Gold and Electrola), none of which was perfect \nall the way through.  I had to use sides from each of the copies I had \nto do the transfer...\"\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Naxos edition is of course still in print, and \noffers the prospective purchaser an alternative to this new \nXR-remastered release. Naturally both of our approaches at the \nremastering of a recording such as this are quite different in many \nrespects, and I've been able to take advantage of a number of \nsignificant technological advances which were simply unavailable to the \nrestoration engineer as recently as seven years ago.\u003c\/p\u003e\u003cp class=\"body\"\u003eAlthough my discs, which were a near-mint set of British\n HMV pressings, were in very good, clean condition, the effect of using \nXR to open up the top end - and it really does open up, with vocal \nharmonic extension at times reaching up to somwhere in the region of \n10kHz, roughly double the expected frequency response for a set of 78s -\n is to reveal a plethora of other shortcomings in the discs which might \npreviously have remained hidden, most prevelant of which on a good \nnumber of sides was the dreaded swish.\u003c\/p\u003e\u003cp class=\"body\"\u003eSwish on discs is a problem for which, until recently, \nthere was little or no solution. The current state of technology, in \n2009, is that we can either ameliorate or, often, completely 'zap' each \nswish in such a way that the music remains untouched. The downside of \nthis latest technology is that one has to process a swish at a time, \nwhich on a recording of this length means over 9000 individual \nselections and interventions purely to tackle this issue. It's a \nlaborious task, but one which I believe yields results which are \nworthwhile.\u003c\/p\u003e\u003cp class=\"body\"\u003eWhat you'll hear in this remastering is a sense of \nopenness and clarity which has perhaps not been heard before in this \nrecording. I've opted for as light a touch as possible with hiss and \nnoise reduction - always a difficult balance to strike with a recording \nof this vintage - but I think the results speak for themselves.\u003c\/p\u003e\u003cp class=\"body\"\u003eMark Obert-Thorn notes in his previous restoration a \nconsiderable variation between sides with regard to balance between \nsoloists and orchestra and overall levels. I felt perhaps less aware of \nthis after the re-equalisation of the recording in XR remastering, \nbeyond the occasional sense that a singer may have taken a step closer \nto the microphone at one point or another - something which is to be \nexpected in a staged opera, if not a studio recording. As such I let \nthis pass, and did not attempt any adjustments of levels or perspective.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt's a marvellous recording - and one which I think this XR remastering manages to shine a refreshing new light on.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eRICHARD STRAUSS \u003c\/b\u003e- Selected passages from \u003cb\u003eDer Rosenkavalier,\u003c\/b\u003e Op. 59\u003cbr\u003e \u003cbr\u003e \u003cb\u003eDie Feldmarschallin\u003c\/b\u003e Fürstin Werdenberg - \u003cb\u003eLOTTE LEHMANN\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eDer Baron Ochs\u003c\/b\u003e auf Lerchenau - \u003cb\u003eRICHARD MAYR\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eOctavian\u003c\/b\u003e, called Quinquin, a young nobleman - \u003cb\u003eMARIA OLSZEWSKA\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eHerr von Faninal\u003c\/b\u003e, a rich, newly-enobled contractor - \u003cb\u003eVICTOR MADIN \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eSophie\u003c\/b\u003e, his daughter - \u003cb\u003eELISABETH SCHUMANN\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eMarianne Leitmetzerin\u003c\/b\u003e, her Duenna - \u003cb\u003eÄNNE MICHALSKY\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eValzacchi\u003c\/b\u003e, An Italian Intriguer - \u003cb\u003eHERMANN GALLOS\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eAnnina\u003c\/b\u003e, his accomplice -\u003cb\u003e BELLA PAALEN\u003c\/b\u003e\u003cbr\u003e A Police Commissary -\u003cb\u003e KARL ETTL\u003c\/b\u003e\u003cbr\u003e An Inn-Keeper - \u003cb\u003eWILLIAM WERGNICK\u003c\/b\u003e\u003cbr\u003e Four Lackeys of the Marschallin's household (Two Tenors and Two Basses)\u003cbr\u003e Four Waiters (One Tenor, Three Basses)\u003cbr\u003e \u003cbr\u003e\u003cb class=\"body\"\u003eChorus of The Vienna State Opera\u003cbr\u003e The Vienna Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb class=\"body\"\u003e ROBERT HEGER\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO036.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO036.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\n\u003cp\u003e\u003cb\u003eCD1 (Acts 1 \u0026amp; 2)\u003c\/b\u003e: Transfers from HMV 78s \u003cb\u003eDB.2060-7\u003c\/b\u003e Matrices 32.4100-4115\u003cbr\u003e And 2WX 501II, 587I, 588II, 589II, 601IIA, 594IIIA, 591II, 590IA, 592II, 603IIA, 597IIA, 582IIA, 583IVA, 602I, 596A, 598A\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eCD2 (Act 3)\u003c\/b\u003e: Transfers from HMV 78s \u003cb\u003eDB.2068-72\u003c\/b\u003e Matrices 32.4124-5 and 32.4116-23\u003cbr\u003e And 2WX 599IA, 595II, 605I, 604IIA, 593IA, 600IIIA, 595IIIA, 586IIA, 606II, 584IIA \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eCD1: \u003cb\u003eAct One\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e 1. \u003cem\u003eIntroduction\u003c\/em\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e 2. Wie du warst! Wie du bist!\u003cspan class=\"bodysmallarialblue\"\u003e (8:11)\u003c\/span\u003e\u003cbr\u003e 3. Der Feldmarschall sitzt im krowatischen Wald\u003cspan class=\"bodysmallarialblue\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e 4. Die Stimm!\u003cspan class=\"bodysmallarialblue\"\u003e (3:32)\u003c\/span\u003e\u003cbr\u003e 5. Hat Sie scon einmal mit einem Kavalier\u003cspan class=\"bodysmallarialblue\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e 6. Da geht er hin, der aufgeblasene schlechte Kerl \u003cspan class=\"bodysmallarialblue\"\u003e(4:23)\u003c\/span\u003e\u003cbr\u003e 7. Ach! Du bist wieder da!\u003cspan class=\"bodysmallarialblue\"\u003e (1:58)\u003c\/span\u003e\u003cbr\u003e 8. Die Zeit, die ist ein sonderbar Ding \u003cspan class=\"bodysmallarialblue\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e 9. Mein schöner Schatz\u003cspan class=\"bodysmallarialblue\"\u003e (3:56)\u003c\/span\u003e\u003cbr\u003e 10. Ich werd jetzt in die Kirchen geh'n \u003cspan class=\"bodysmallarialblue\"\u003e(4:28)\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eAct Two\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e 1. In dieser feierlichen Stunden der Prufung\u003cspan class=\"bodysmallarialblue\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e 2. Mir ist die Ehre widerfahren\u003cspan class=\"bodysmallarialblue\"\u003e (5:57)\u003c\/span\u003e\u003cbr\u003e 3. Ich kenn' Ihn schon recht wohl\u003cspan class=\"bodysmallarialblue\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e 4. Zu Ihm hätt' ich ein Zutrau'n\u003cspan class=\"bodysmallarialblue\"\u003e (3:52)\u003c\/span\u003e\u003cbr\u003e 5. Wart', dich hau' i' z'amm\u003cspan class=\"bodysmallarialblue\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e 6. Da! ... Herr Kavalier!\u003cspan class=\"bodysmallarialblue\"\u003e (4:11)\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eCD2: \u003cb\u003eAct Three\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 1. \u003cem\u003eIntroduction and Pantomime\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (4:11)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 2. Hab'n Euer Gnaden noch weitre Befehle?\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:39)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 3. Nein, nein, nein, nein! I trink' kein Wein\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:14)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 4. Muss jetzt partout zu ihr!\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (4:26)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 5. Weiss bereits nicht\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:45)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 6. Leupold, wir geh'n!\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (1:40)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 7. Mein Gott, es war nicht mehr als eine Farce\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:21)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 8. Heut' oder morgen oder den ubernächsten Tag\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (4:03)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 9. Marie Theres'! ... Hab' mir's gelobt\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (5:04)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 10. Ist ein Traum, kann nicht wirklich sein\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:04)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 11. Sind halt aso, die jungen Leut'!\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (1:38)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 12. Ist ein Traum, kann nicht wirklich sein\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:36)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":128323649562,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":128323682330,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":128323715098,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":128323747866,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO036_711123a2-934e-4ee3-beff-db010f2e3640.jpg?v=1502178477"},{"product_id":"pasc481","title":"MONTEUX at Tanglewood, Volume 4 (1962) - PASC481","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ein Heldenleben\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo recordings, 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:30\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePierre Monteux, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: Fanfare \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe level of musical execution has been exalted, lyrical, manic, and entirely resilient in all parts, and the BSO audience knows it578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePierre Monteux was 87 when he led this concert at \nTanglewood in July of 1962. The year before, he made headlines by \nbecoming the oldest-ever chief conductor of the London Symphony, on \ncondition that he be given a 25-year contract. As in the many concerts \nthat Leopold Stokowski, Adrian Boult, and Pablo Casals led in their 90s,\n it’s always a delight listening to a man who refuses to act his age.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFrom the glowing opening chord of Beethoven’s \nSecond Symphony, it’s obvious that this is prime Monteux: unforced, \nrelaxed, beautifully played, supremely musical. And although Monteux’s \nSecond is a familiar commodity thanks to his commercial recordings with \nthe San Francisco and London Symphonies—and a bracing live performance \nwith the French National Orchestra available from Music and Arts \n(1182)—this Boston Symphony version is unmistakably in a class by \nitself. As the introduction gives way to the first movement proper—and \nhow unerringly the conductor paces all the important transitions—it’s \nclear you’re listening to a vigorous young conductor who only happens to\n be in his ninth decade of life. The playing crackles with excitement, \neach perfectly placed accent the musical equivalent of a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emot juste\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Similarly, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e couldn’t be more warmly human, the scherzo more witty, the finale more full of character and bustling life.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhile the basic contours of the Monteux \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHeldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are not that far removed from the conductor’s 1947 San Francisco \nrecording, both the playing and sense of occasion are in an entirely \ndifferent league. As always, the Boston Symphony plays with the reflexes\n and sensitivity of a fine chamber ensemble, but they also make some \nspectacular massed sounds, as in “The Hero’s Battlefield,” which erupts \nin a splendidly controlled chaos. Although a few things (inner voicing, \nmostly) get covered in the live recorded sound—the open-air Koussevitzky\n Music Shed has never been an acoustical match for Symphony Hall—the \nremastered sound is dazzlingly full and transparent for its period: a \nremarkably faithful approximation of what it’s like in a seat in the \ncentral section, some twenty or thirty rows back.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf it would be difficult to over-praise the \norchestra’s playing, then there are still some minor drawbacks. \nConcertmaster Richard Burgin—also in his final season as the orchestra’s\n associate conductor—sounds uncharacteristically bleached-out and \ntentative, undoubtedly the result of the less-than-flattering microphone\n placement. All the other solo voices come off superbly, except for the \ntypically thin and wobbly English horn. (That would be corrected two \nyears later, when the BSO raided the Chicago Symphony for Laurence \nThorstenberg, the great American English hornist of his time.) \nUltimately, though, it’s the conductor who makes this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHeldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the unique experience it is: one of the most flawlessly judged, \nthoroughly adult of all recorded Strauss performances, with nothing done\n for personal glory or cheap effect. In short, it’s an example of the \nkind of selfless yet intensely individual conducting that has all but \nvanished today. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJim Svejda  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer Andrew Rose extends his rewarding survey of the Pierre \nMonteux legacy at Tanglewood, here in 1962, a year in which the famed \nFrench maestro appeared six times before his old colleagues of the \nBoston Symphony. The music of this concert comes to us on 29 July 1962. \nThe reading of the Beethoven \u003ci\u003eSymphony No. 2\u003c\/i\u003e (1802) revels in its \nboundless mirth, despite the fact that at the time of its composition \nBeethoven felt the first real strains of his oncoming deafness.  The \nfirst movement has Monteux’s urging his horns to exploit the ceaseless \nenergy of its sudden injections of buoyant vitality. The strings whirl \nat dizzy pace, the tympani’s marking the cadences with gusto. Berlioz \nhad claimed that the \u003ci\u003eD Major Symphony\u003c\/i\u003e smiles in every bar. The \nperoration that Monteux achieves at the coda becomes breathtaking, \nsymmetrical in its ecstasies to the point that the audience barely \ncontains its applause.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe enchanting \u003ci\u003eLarghetto\u003c\/i\u003e, a song that Berlioz envied, flows \nwith lyrical exaltation. The ensuing ornaments and arioso flourishes \ndevelop a marvelous canvas, as virile as it is delicate.  The color of \nthe BSO’s lower strings, the violas and cellos, proves affecting at all \npoints. The woodwind choirs impart the feeling that whatever martial \nelements invade the progress of the music, Beethoven still means to \ndeliver an outdoor serenade.  Beethoven’s first truly so-marked \u003ci\u003eScherzo\u003c\/i\u003e moves with a pompous ease, breezy and witty. The \u003ci\u003eTrio \u003c\/i\u003eenjoys a pomp and humor – especially in the bassoons – that Haydn would savor. The \u003ci\u003eda capo\u003c\/i\u003e enjoys a mad dash straight to the Finale’s rollicking \u003ci\u003eAllegro molto\u003c\/i\u003e that convinces us that Beethoven has penned a second \u003ci\u003escherzo\u003c\/i\u003e\n – here in supple meter – as his concluding movement. Once more, the BSO\n horns and strings achieve a buoyant enthusiasm that verges on menace \nbut retains a jovial acceptance of life’s trials as well as triumphs.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Richard Strauss \u003ci\u003eEin Heldenleben\u003c\/i\u003e (1898) celebrates “the \nHeroic Life,” and its autobiographical conceits depict Strauss and his \nformer-pupil wife, soprano Pauline de Ahna. Given Monteux’s long \nassociation with the Concertgebouw Orchestra of Amsterdam and its \neminent conductor Willem Mengelberg – to whom the score is dedicated – \nMonteux’s sympathy with the music seems entirely natural.  Rather \nintricately co-ordinated into six flowing sections, the huge symphonic \npoem traces the composer’s quest for greatness and the various \noppositions and supports he meets along the way. The solo violin \n(possibly Joseph Silverstein) intones the many moods – splendid and \npetty – of Pauline’s support in times of adversity, mostly in the form \nof carping critics and their bleats, which sound unsurprisingly like the\n sheep in \u003ci\u003eDon Quixote. \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThere are various miracles of orchestration in the course of the \nStrauss self-promoting legend, such as weaving an amazing tapestry from \nhis own scores, including the failed 1893 opera \u003ci\u003eGuntram, Macbeth, Death and Transfiguration, the song “Dreaming at Twilight,” \u003c\/i\u003e \u003ci\u003eDon Quixote\u003c\/i\u003e, and the jubilant \u003ci\u003eDon Juan\u003c\/i\u003e,\n for his “The Hero’s Works of Peace” movement. Prior to this \nself-celebration, Strauss had engaged in epic battle, with startling \neffects from the BSO battery and brass at Monteux’s ready disposal. At \nlast, the Hero withdraws – presumably to Switzerland, if the English \nhorn provides any clue – finding a consolation, a “consummation,” in no \nless than in archetypal, heroic strains in Beethoven’s \u003ci\u003eEroica\u003c\/i\u003e. \nThe level of musical execution has been exalted, lyrical, manic, and \nentirely resilient in all parts, and the BSO audience knows it.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"https:\/\/www.audaud.com\/monteux-at-tanglewood-vo-4-beethoven-sym-no-2-r-strauss-a-heros-life-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC481.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMonteux's stereo Tanglewood broadcasts part 4: Beethoven \u0026amp; Strauss, 1962\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Monteux\n really does everything right in both works: despite the flexibility of \nhis tempi, the tension throughout the whole half hour of the symphony is\n gripping\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe summer of 1962 saw Monteux back once more at Tanglewood for six \nguest appearances with the Boston Symphony Orchestra. The following \nyear, at the age of 88, he made two final appearances with the BSO at \nTanglewood, just a few months before his final concert with the \norchestra at Boston's Symphony Hall on 21 December 1963.\u003cbr\u003e\u003cp\u003e\u003cbr\u003eThe 1962\n concerts started with two identical programmes, of which these \nrecordings were taken from the second concert. The programme began with \nan orchestrated organ work by Bach, followed by the Beethoven, an \ninterval, and the Strauss presented here. The programme suggests that a \nlast minute change due to illness meant the Bach replaced vocal music \nfrom Purcell and Weber - the Beethoven and Strauss were always planned \nhere. \u003cbr\u003e\u003cbr\u003eOf these, the Beethoven is a lovely performance, but it is\n perhaps Ein Heldenleben which stands out as particularly inspired and \nrighly brings the house down after some brilliant playing and \nwell-judged pacing. Naturally the Boston Symphony is excellent \nthroughout. Sound quality on these XR remasters of excellent if \noriginally slightly hard-sounding stereo source recordings is truly \nsuperb - an ongoing improvement from the previous years' recordings can \nbe clearly heard and enjoyed.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 2 in D major, Op. 36\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Ein Heldenleben, Op. 40\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: x-small;\"\u003eConcert of 29 July, 1962\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBoston Symphony Orchestra\u003cbr\u003ePierre Monteux\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded at the Koussevitzky Music Shed, Tanglewood \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC481.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC481.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":32417554701,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32417554829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32417554957,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC481_55e8ffb8-471e-4bcb-89e0-983ad955c821.jpg?v=1487682410"},{"product_id":"pasc411","title":"REINER conducts Richard Strauss (1952-57) - PASC411","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Also Sprach Zarathustra\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Burleske\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1952-57\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 67:28\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Reiner, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eByron Janis, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChicago Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReiner makes such good use of the few extra seconds he takes with the NBC group that I prefer Pristine’s vivid reproduction of it578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI love the cover on this Pristine \nrelease. Imagine yourself as a “fright-palsied oboist” (to borrow a \nphrase from Oscar Levant) and Fritz Reiner is scowling at you the way he\n glares out of the cover of this release (“Did I hear a C♯ instead of a \nC♮?”). Is the ax about to fall? Fortunately for them, the oboists on \nthis recording were spared “the look” (at least I hope so). In June of \n1950, Decca recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Clemens Krauss leading the Vienna Philharmonic. The sound was \nclose to the then-current “state-of-the-art” and it still holds up \nreasonably well in Decca’s recent reissue of Krauss’s Strauss recordings\n with the Vienna Philharmonic, including even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n As a performance, it need not yield to anyone’s, including even this \nsplendid Reiner\/CSO made nearly four years later, in March 1954. The \nbiggest advantage Reiner’s has is the magnificent two-channel sound, \neven though some listeners may be put off by its not sounding like a \n“real” stereo recording since, at that time, Reiner had his violins \ndivided with the cellos at stage right. The earliest Reiner\/Chicago \nrecordings were made that way. For the following season Reiner, \nconvinced that the two violin sections would hear each other better, \nswitched the second violins over to his left and put the cellos to his \nright, outside the violas, the same seating that Eugene Ormandy used in \nPhiladelphia. Reiner’s early \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was made the same way, and I suspect that that was the main reason that\n RCA had Reiner record them over again a few years later. What I don’t \nunderstand is, having experienced the sonic delights of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Dance of the Seven Veils, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n why did RCA then record some Mozart pieces monaurally? Reiner’s \nBeethoven Third was apparently recorded stereophonically but was never \nissued in that format in the United States. Why? Reiner’s way with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is, perhaps inevitably, more hard-edged than that of Krauss, but it and\n the splendid sound (well preserved by Pristine) certainly put the \ncomplicated tone poem across. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBurleske\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was eventually issued stereophonically, I had heard only the original \nmono issue until I received this welcome Pristine release. I think just \nabout every performance of this early piece that I’ve heard treats it as\n an over-ripe specimen of late Romanticism. Perhaps that was the \nintention of Janis and Reiner, but their approach tends to emphasize the\n piece’s eccentric rhythms and mood-swings, bringing out a heavy-handed \nwit that, who knows, may have been Strauss’s intention. Janis’s \naggressive pianism runs the gamut from brittle brilliance to melting \ndelicacy and the orchestra contributes the expected precision. In any \nevent, it may not be for all tastes but it works. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAccording to his biographer, Philip Hart, Reiner conducted \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at least 35 times with 15 different orchestras, which may even be a \nmodest estimate. Judging by the four Reiner recordings I’ve heard, I’d \nsay that there was probably little difference among them, but my narrow \npreference is for the two live ones which, though only marginally \nslower, seem just a little warmer and, perhaps, even a bit more relaxed.\n One of them was issued by the Chicago Symphony Orchestra years ago and \nis no longer available, all the more reason why I take pleasure in \ntouting this similar NBC Symphony broadcast from 1952, which has quite \nvivid mono sound (or “ambient stereo,” as Pristine calls it) and \nterrific playing. If real stereo is an important consideration, there’s a\n rich-sounding Reiner\/Vienna Philharmonic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e coupled with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTod und Verklärung\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In their efficient way they are both splendid performances, but I think\n Reiner makes such good use of the few extra seconds he takes with the \nNBC group that I prefer Pristine’s vivid reproduction of it. Odd that he\n never recorded the two Strauss tone poems with his own orchestra when \nhe did just about everything of any note except \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien, Macbeth, Metamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlpine Symphony. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC411.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFritz Reiner's masterful way with Richard Strauss\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eCelebrating the composer's 150th anniversary year\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFritz Reiner is of course closely associated with the music of \nRichard Strauss. His first stereo recordings, and the first conducted by\n RCA for what would become their legendary Living Stereo imprint \nfeatured Strauss, and it's from those first sessions that Also Sprach is\n taken. In fact the programme here was to an extent chosen for me - it \nmirrors precisely that of my first concert in New York at Carnegie Hall \nin April 2014, celebrating Strauss's 150th birthday. And how better to \nbecome intimately acquainted with the music than by presenting an XR \nremastering of the maestro at work in sound quality that conveys every \nfine detail better than ever before?\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also sprach Zarathustra, Op. 30\u003cbr\u003eRecorded 8 March 1954, Orchestra Hall, Chicago\u003cbr\u003eA stereo recording\u003cbr\u003e\u003cb\u003eJohn Weicher\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Burleske in D minor, TrV 145\u003cbr\u003eRecorded 4 March 1957, Orchestra Hall, Chicago\u003cbr\u003eA stereo recording\u003cbr\u003e\u003cb\u003eBryon Janis\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche, Op.28\u003cbr\u003eLive recording, 19 January 1952, Carnegie Hall, New York\u003cbr\u003eAn ambient stereo recording\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003cbr\u003eFritz Reiner\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC411.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC411.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":31975873293,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975873357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975873421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC411_60abd709-bb89-49c1-b368-7b0821532843.jpg?v=1487682460"},{"product_id":"pacm092","title":"ROSTROPOVICH Chamber Music, Vol. 2 (1948-56) - PACM092","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" type=\"_moz\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Trio No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Larghetto from Sonata in D\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Stücke in Volkston Nos. 1 \u0026amp; 4\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Stimmungsbilder No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSINDING\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Presto from Suite im alten Stil \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1948-56\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 60:09 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMstislav Rostropovich, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonid Kogan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Barshai, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVladimir Yampolsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is great stuff! Strongly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is great stuff! I’ll admit that for the first\n minute or so of the Beethoven Trio, recorded in Moscow in 1956 and \ntransferred from Melodiya ND 03458-03459, it sounds like the original \nrecording engineer was twiddling the knobs to try optimize the balance \nand aural perspective, because first the players sound distant, then \nclose up, then soft, and then loud. But once the sonic image settles \ninto a stable and comfortable place, the performance one is treated to \nis simply magnificent. Put three of the 20th century’s top Russian \nstring players—Leonid Kogan, Rudolf Barshai, and Mstislav \nRostropovich—together, and you were bound to have a surefire success. \nThe sharp definition and unanimity of articulation one hears in the \nplaying are simply amazing; and the up-tempo, intensely focused, and \nlyrical largesse of this reading—where the music calls for it—lend this \nearly work by Beethoven a stature it doesn’t always achieve in lesser \nhands.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is not the same performance of the trio by \nthese three players that was recorded live in 1960 at the Prague Spring \nFestival, and which can be heard on a Supraphon CD. It is, however, the \nsame performance that was reviewed by William Zagorski in 16:3, when it \nwas released on Melodiya 10-00552. That review may be a bit confusing \nbecause it covers two separate CDs (the other being Melodiya 00550), \nwhich parses the material differently across the two discs than how it’s\n programmed on this Pristine release. But if you search out Pristine’s \ncompanion to this album, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRostropovich Chamber Music Volume 1\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n you’ll find some (not all) of the works included on the two Melodiya \nCDs. Unfortunately, I haven’t heard either of those discs, so I can’t \ntell attest to how they compare to this “XR” Pristine remastering, but I\n can attest to the phenomenal results Andrew Rose has achieved for this \nrelease.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remainder of the program is given over to \nRostropovich and Vladimir Yampolsky in a sequence of excerpts from \nlarger works, recorded between 1948 and 1953. Three of them, of \ncourse—the Handel, Strauss, and Sinding—are arrangements for cello from \ntheir original instrumentation. The first movement of the Sinding Suite,\n a perpetual motion piece, originally for violin, is very effective on \ncello, and an excellent virtuoso vehicle for displaying Rostropovich’s \nimpressive technique.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is a most enjoyable album, and another credit to Andrew Rose and his Pristine label. Strongly recommended. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM092.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMore brilliant and rare Soviet chamber music recordings by Rostropovich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cem class=\"bodymid\"\u003eBeethoven String Trio with Kogan \u0026amp; Barshai, plus short pieces by Handel, Schumann, R. Strauss \u0026amp; Sinding \u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe original records containing these recordings \nprovide an excellent example of the rapid progress made in recording \ntechnology with the advent of tape and the LP, with the \u003cem\u003eTrio\u003c\/em\u003e \nrecording a significant step forward from the sound of the earlier short\n pieces. The sound quality buried in those 1956 grooves in particular \nturned out to be astonishingly good when released by an XR remastering. \nCertainly it is only the mono source that now gives away the age of the \nrecording - though for most listeners I heartily recommend the Ambient \nStereo edition and the sense of space around the instruments this \ncreates.\u003cp class=\"western\"\u003eThe last-minute discovery of a 1993 Fanfare review \nanswers some questions regarding recording dates with Yampolsky, the \ninitial dullness of which has here been improved upon quite \nsuccessfully. Elsewhere the reviewer bemoans the incomplete nature of \nthese odd movements. I suspect the recordings were made to fit odd 78rpm\n sides and the works in question were never recorded in their complete \nforms. Regardless, they turn out to be older than I imagined, leaving me\n even more surprised at their inherent sound quality.\u003c\/p\u003e\u003cp class=\"western\"\u003eOne truly bizarre anomaly raised its head: in the \nfourth movement of the Beethoven a tape edit had been made where a few \nnotes had been spliced in backwards! Naturally this has now been \nremedied.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN String Trio No. 1 in E flat, Op. 3\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eRudolf Barshai\u003c\/b\u003e viola\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/p\u003e\n\u003cp\u003eRecorded Moscow, 1956\u003cbr\u003eTransfer from Melodiya ND 03458-03459\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eHANDEL Violin Sonata in D, Op. 1, No. 13: 3rd mvt. - Largetto\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 1. Vanitas vanitatum: Mit Humor\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 4. Nicht zu rasch\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS Stimmungsbilder, Op.9: 2. An einsamer Quelle\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSINDING Suite im alten Stil in A minor, Op. 10 - 1st mvt. - Presto\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eVladimir Yampolsky\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eRecorded 1948 - 1953\u003cbr\u003eTransfer from Melodiya 33D-027827\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM092.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM092.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cem\u003eRostropovich Chamber Music (Melodiya CD issue, 1992)\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom a Western perspective, the political events of the last couple \nof years are enough to make one's head spin. From an Eastern \nperspective, they have to be a whole lot more than that. Gosh, how I \nmiss Winston Churchill's wondrous “Iron Curtain.“ It so clearly defined \nwho the enemy was, and gave us all such a compelling sense of purpose. \nAs a product of the postwar McCarthy era, I was duly indoctrinated \nagainst the evils of Soviet Communism. It produced a grim, joyless, \ndour, cultureless society that was best gotten rid of—especially in \nlight of the fact that it was hell-bent on getting rid of us. I \ndutifully persisted in this politically correct mind-set until I \ndiscovered a few ancient and extraordinarily crude LPs released under \nthe imprimaturs of Coliseum and Bruno. They contained standard (and \nnot-so-standard) repertoire stuff performed by then largely unknown \nSoviet artists. Thus it was that I first heard David Oistrakh, Leonid \nKogan, Mstislav Rostropovich, Vladimir Yampolsky, Sviatoslav \nKnushevitsky, and Kiril Kondrashin. Those recordings were all “produced“\n by one Bruno G. Ronty, who, apparently, gained access to a number of \nbootleg Soviet LPs and used them as sources for the production of his \nown record line, hence the dismal sound— similar to hearing an LP that \nhad been pressed on wretched vinyl through a bad telephone connection. \n“How lousy Soviet recording is—“ I concluded;—“Yet another example of \nWestern supremacy and Soviet backwardness.“ On a couple of releases \nRonty proudly stated that no moneys from the sale of these records would\n ever reach their [evil] sources.\u003c\/p\u003e\u003cp\u003eOne of my prize Coliseum releases of that era is CRLP 179, containing\n a postwar recording of Lalo's Symphonie Espagnole (with the usually \nmissing Intermezzo) played by a then quite young David Oistrakh and \nseconded by Kiril Kondrashin—by all measures but sonic excellence, a \nfabulous recording.\u003c\/p\u003e\u003cp\u003eDuring the ensuing decades other Soviet releases reached the shores \nof New Jersey via more legitimate channels. A company called Connoisseur\n Record Corp., in Kearny, NJ, began to release a series of mono LPs from\n both the MK and Supraphon catalogs. Thus it was, as callow youth, that I\n first heard the Leningrad Philharmonic under Yevgeny Mravinsky in a \nperformance of Prokofiev's Sixth Symphony. I had never heard the piece \nbefore, and that performance (lovingly preserved in eminently decent \nsound on ALP-158) is, many years and many recordings later, still the \none by which I judge all others.\u003c\/p\u003e\u003cp\u003eSoviet recordings eventually penetrated the American market via \nseveral other Western companies—Monitor, EMI, and later CBS. In our \ndigital era, MCA has issued a number of releases, as has Sheffield Labs \n(see Fanfare 11:1, “Sheffield Goes to Moscow,“ by Peter Rabinowitz). A \nfew other releases reached our shores on Olympia, and I have in my \nlibrary one recording on Melodiya Australia (distributed by Allegro \nImports). Now, finally, with the collapse of the Soviet Union (and under\n the duress of having to raise hard currency), Melodiya is marketing its\n vast, varied, and often distinguished catalog on its own. As a fan of \ntheir work over the years, I wish them all the best.\u003c\/p\u003e\u003cp\u003eUpon examining these two offerings, I have a few minor, and I hope \nfairly innocuous, quibbles. Each box proudly states “Made in the USSR.“ \nIn fact, though the recordings and jewel box design are Russian, the CDs\n themselves were manufactured by American Helix. For a moment I thought \nthat Russia had a CD production facility, but no such luck. The \nmarketing strategy of Melodiya, as demonstrated here, is to exploit the \nWestern name recognition of the major artists involved—Rostropovich, \nGilels, Kogan, and (to aficionados of the art of accompaniment) \nYampolsky, are all, and have been, well-established figures for years. \nThis approach makes sense, but here it has been executed at the expense \nof repertoire considerations. On the first disc only two of Schumann's \nStücke im Volkston are given. Given performances of this quality, I \nwould have liked to hear the remaining three numbers. I feel it would \nhave been wiser to program the whole set at the expense of the \noverexposed Kinderscenen excerpt and the Sinding Presto. Likewise, on \nthe second disc, the Larghetto from Handel's Sonata in D, op. 1, No. 13,\n needs its companion movements in order to be a viable musical \nexperience.\u003c\/p\u003e\u003cp\u003eThe “star“ of these two releases is Mstislav Rostropovich. The first \ndisc covers his career from 1948 (the Sinding Presto) through 1953 (the \ntwo excerpts from Stücke im Volkston)—long before he had become an \ninternationally known figure. The second CD contains performances from \n1949 (the Chopin Introduction and Polonaise Brilliante) through 1956 \n(the Beethoven Trio for Violin, Viola, and Cello). Along the way one can\n partake of the outstanding work of a comparatively youthful Emil Gilels\n (forty years old in Beethoven's Trio, op. 97); Leonid Kogan (thirty-two\n years old in both the Beethoven Trios, op. 3 and op. 97), and of \nviolist Rudolf Barshai before the founding of his Moscow Chamber \nOrchestra. In all cases, the sound is eminently decent for its vintage.\u003c\/p\u003e\u003cp\u003eBeethoven's Trio No. 1 for Violin, Viola, and Cello in E♭, op. 3, and\n his “Archduke“ Trio, op. 97, are the two main events on these releases.\n All six movements of op. 3 are given equally robust and sensitive \nperformances—pointed, beautifully intoned, and informed with both \nvitality and a particularly Russian brand of whimsy. For once this piece\n of youthful (ca. 1786) Beethoven is given its due.\u003c\/p\u003e\u003cp\u003eThe “Archduke“ Trio, in the hands of Gilels, Kogan, and Rostropovich,\n receives an arching, ruminative, and noble reading. Phrases speak with \nan eloquence they seldom have in the hands of more modern, objective \nplayers. All elements—attack, dynamics, and tone color—are brought into \nplay and masterfully exploited in the making of an expansive, quietly \nheroic performance. This is the tradition that had already produced \nDavid Oistrakh and would eventually spawn Yuli Turovsky.\u003c\/p\u003e\u003cp\u003eThe other pieces, despite their modest dimensions, or overall worth, \nare all done as if they are the musical end of the world. Of special \nnote is the Villa-Lobos Prelude from Bachiana Brassileira No. 1—here \ngiven an intensely dark, brooding, and Russianly manic reading.\u003c\/p\u003e\u003cp\u003eAs I stated above, the sonics on these two releases are, by Western \nstandards, fine for their respective ages. To anyone familiar only with \nthose old Coliseum and Bruno releases, these samples of \nlate-1940s-through mid-1950s Soviet recording will prove, in this CD \nincarnation, astonishing. To those familiar with subsequent Soviet \nreleases distributed in the West, these offerings will be more than \nmerely technically competent—they will prove to be musically satisfying.\u003c\/p\u003e\u003cp\u003eI hungrily await future releases.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by William Zagorski\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 16:3 (Jan\/Feb 1993) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003eThe recordings referred to include those on this release and those on PACM090\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144245581,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144245773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144245965,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144246285,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM092_00fa38d8-a0d0-41cd-8b1d-cd9c3c63ba70.jpg?v=1494337649"},{"product_id":"paco019","title":"SCHUMANN BBC Lecture Recitals (1950, 1951) - PACO019","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELISABETH SCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Illustrated lectures\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eBBC Radio broadcasts from 1950 and 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 52:03\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eElisabeth Schumann, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnest Lush, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\"This\n is so much more than a record of a singer performing songs; it is a \nwindow to another era, the era of Slezak and Gadski, Gerhardt and Paul \nReimers, singers for whom expression was as important as musicality. \nNeedless to say, Pristine Classical enhances the sound quality of the \noriginal disc, although a small amount of the original surface swish \nremains. Indispensable for fans of the soprano as well as for vocal \nstudents wanting to learn more about the interpretation of Lied.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e - Fanfare, May\/June 2008\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO019.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBBC Lecture-Recitals, 1950, 1951\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAs given by by Elisabeth Schumann\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese lectures offer a fascinating insight into the life and music of\n the much-loved soprano, Elisabeth Schumann, speaking at the end of her \nlife (she died in 1952). Amongst the musical suggestions and \nillustrations she sprinkles anecdotal gems, such as can be heard in our \nsample here, where Brahms berates the orchestra of Arthur Nikisch and \ndemands that they play more \"blue\".\u003cbr\u003e\u003cbr\u003eShe leads us through a \nmusical journey of lied singing, and with expert accompaniment from \npianist Ernest Lush, offers seven full songs, plus numerous short \nexamples from both these and other works. Despite the simplicity of the \n1950's BBC presentational style, the programmes move along at a good \npace, neither overly technical nor glib - two delightful and rare \nofferings from one of the world's great singers.\u003cbr\u003e\u003cbr\u003eNotes on the \nrestoration:This recording came to us via a \"private issue\" 33rpm LP, \nwhich had clearly been mastered from older, probably acetate 78spm, \nrecords. Both lectures were originally rather murky and scratchy, with \nvarying amounts of noise and hiss throughout. I've used a series of \ntechniques modified from our usual XR restoration methods to improve the\n tonal quality of both speech and singing here, and carried out a huge \namount of declicking and decrackling, as well as a considerable amount \nof noise reduction. Some remnants of the original poor quality sound \ndoes, inevitably, remain - largely in the background - and should not be\n a distraction from the fascinating musical and speech contain to be \nfound herein.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e Mozart\u003c\/b\u003e: Das Veilchen (KV.476)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Schubert\u003c\/b\u003e: Lachen und Weinen (D.777)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Wolf\u003c\/b\u003e: Mausfallen-Spruchlein\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Brahms\u003c\/b\u003e: Vergeliches Ständchen (Op. 84 No. 4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e R. Strauss\u003c\/b\u003e: Morgen (Op. 27 No. 4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e Schubert\u003c\/b\u003e: Die Forelle (D.550)\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eWolf\u003c\/b\u003e: In dem Schatten meiner Locken\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBBC Radio broadcasts from 1950 and 1951\u003cbr\u003e\u003cbr\u003eTransferred from private LP issue EJS-328\u003cbr\u003eOriginal source probably acetate 78rpm discs\u003cbr\u003e\u003cbr\u003ePristine Audio remastering by Andrew Rose, August 2007\u003cbr\u003eDuration 52:03\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eElisabeth Schumann, \u003c\/b\u003esoprano\u003cbr\u003e\u003cb\u003eErnest Lush, \u003c\/b\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO019.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO019.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":33989369933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33989370061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO019.jpg?v=1489416650"},{"product_id":"pasc476","title":"STOKOWSKI Acoustic, Volume 4 (1919-24) - PASC476","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS, DVOŘÁK, RIMSKY-KORSAKOV, SAINT-SAËNS, SIBELIUS, BRAHMS, SCHUBERT, MUSSORGSKY, R. STRAUSS, EICHHEIM, PUCCINI, HOFFSTETTER \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eAcoustic studio recordings, 1919-1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:44 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Blue Danube is truncated to four-and-half-minutes what remains is still very appealing and well recorded for the date, May 1919578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is the fourth and final \ninstallment of Pristine’s series devoted to acoustic recordings made by \nLeopold Stokowski and members of the Philadelphia Orchestra. In \nreviewing Volume 3 for 40:2, I expressed some doubts regarding the value\n of acoustic orchestral recordings, since this primitive recording \nprocess was not capable of recording a full orchestra and had to make do\n with a few members of the orchestra clustered around a recording horn. \nThose reservations were only partially assuaged by the earlier disc, \nalthough I had no doubt that Pristine’s remasterings were probably \nbetter in sound than earlier efforts to resuscitate these recordings. \nThat release did contain one item of great historical importance, Sergei\n Rachmaninoff’s 1924 recording of his own Concerto No. 2. As was the \ncase with Volume 3, the selections on this release vary in sound quality\n and in the value of the performances, but there is nothing that matches\n the Rachmaninoff in significance. As before, a notable feature of \nPristine’s restorations is freedom from the wow and flutter that one \nexpects in material of this vintage. Even Pristine’s skilled \nministrations, however, cannot change the fundamental character of these\n early recordings, and it should be immediately clear to the listener \nthat they are acoustics, not electrical recordings. Most of the works on\n the new release are substantially abbreviated in order to fit onto one \nor two 78-rpm sides. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1920 Dvořák recording gives us a little more than one-third of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n movement. Although dynamic and frequency range are predictably limited,\n the sound is smooth and pleasing, and as full as one could hope. \nInstrumental details are clear. Stokowski recorded the complete “New \nWorld” with the Philadelphia in 1925, 1927, and 1934, with the All \nAmerican Youth Orchestra in 1940, with “His” Symphony Orchestra in 1947,\n and finally with the New Philharmonia Orchestra in 1973. The 1920 \nexcerpt is similar to the 1934 recording in its choice of tempo and \nrelative steadiness of tempo, although there is more of an acceleration \nin the minor-key central section in the earlier performance. The 1927 \nrecording is both quicker and more elastic, while the 1940 and 1973 \nreadings are considerably slower—truly glacial, in fact. (I don’t have \nthe 1925 and 1947 recordings.) In Pristine’s restoration of the 1920 \nrecording, one can appreciate the beauty of the playing and Stokowski’s \nexpressive but unexaggerated shaping, only to be disappointed when the \nselection comes to an abrupt end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 excerpt from the third movement of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (“The Young Prince and the Young Princess”) gives us a bit less than \nhalf the movement. As it opens, it sounds like the sensuous main theme \nis being played by a solo violin rather than the full section. \nOtherwise, the treatment is straightforward, with only hints of \nportamento. When he recorded the complete work with the Philadelphians \nin 1934, Stokowski’s approach in this movement was a bit more mannered, \nwith more extravagant expressive gestures and more pronounced \nportamento. The 1919 “Festival in Baghdad” provides only about a third \nof the movement, skipping the solo violin passages at the beginning and \ncoming to an end well before the shipwreck. The performance is again \nstraightforward and in this case comparatively uneventful. The \ncorresponding passages of the 1934 recording are more exciting, due to \nstronger dynamic stresses and a more strongly projected rhythm. The \nlimited dynamic range of the acoustic recording may be partially \nresponsible for this contrast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1921 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoco allegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from Brahms’s Third Symphony, although less drastically cut than some \nof the other selections, is not very rewarding. The sound bears little \nresemblance to a full orchestra, and the performance seems prosaic. The \ngain in realism in Stokowski’s 1928 Philadelphia recording of the \ncomplete work (as reissued by Biddulph) is striking, and aside from \nissues of completeness and sound, the 1928 version is a better \nperformance, with more expressive playing and more convincing shaping. \nThe pacing is a bit quicker in the later recording, with elasticity that\n is more pronounced but not excessive. The choppy 1921 solo horn is \noutclassed by its later counterpart. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith a timing of 7:32, Salome’s “Dance \nof the Seven Veils,” also recorded in 1921, is much less truncated than \nmany of the other selections on the disc, although the opening flourish \nis cut. As is true elsewhere in this collection, the recorded sound \ncomes off best in more heavily scored passages, where the thinness of \nthe ensemble is less evident. Stokowski’s rendition here is more urgent \nand purposeful than sensuous. In his 1959 recording for Everest, with \nthe Stadium Symphony Orchestra (a pseudonym, I believe, of the New York \nPhilharmonic), he employs a more flexible and dramatic approach. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWe get about half of the “Bacchanale” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSamson et Dalila \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(recorded 1920) and a bit less than that of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFinlandia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1921), but the performances are urgent and exciting, and the \nsound offers a more convincing image of a full orchestra than in some of\n the other selections. Stokowski performs his own transcription of the \nSchubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMoment musicale\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in F Minor (recorded 1922). The playing here seems rather slack \ncompared to his 1927 Philadelphia remake, which has greater tension, \nalthough the tempos are not much different. Schubert’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n D 783 (recorded 1922), was originally a solo piano work, but the \ntranscriber is not named. The complete work manages to fit 16 dances \ninto an 11-minute span (in Alfred Brendel’s 1973 recording on Philips). \nStokowski provides not quite five minutes, and the playing is once again\n surprisingly slack. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne would expect Stokowski to excel in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBlue Danube\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1919), but in the roughly half of the piece he gives us his \nrendition strikes me as mainly brisk and efficient, without much \nshaping, and does not really capture the joyousness of the music. \nPerhaps he was constrained by the cumbersome recording process, although\n as with all of these recordings there were multiple takes in an effort \nto get it right. The eccentricity for which Stokowski was sometimes \nknown makes its appearance in the Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (recorded 1920), where the main tempo, which is supposed to be \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n is outlandishly slow. It doesn’t work. Although Brahms himself \norchestrated this piece, Stokowski performs his own transcription, \npresumably from the four-hand piano original. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKhovanshchina\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt, labeled here as an Entr’acte, is actually the prelude to act \nIV, scene 2. As it is playing, the disgraced Prince Golitsyn is being \nhauled away to exile. Here, too, Stokowski’s tempo strikes me as too \nslow, although not to the same degree. At this rate, Golitsyn’s journey \nto Siberia will be a very lengthy one. In terms of sound quality, \nthough, this recording is one of the better ones on the disc. This \nselection was recorded in 1922; Stokowski rerecorded the piece with the \nPhiladelphians in 1927 at a virtually identical tempo. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe last three items on the disc, by \nHenry Eichheim, Puccini, and Roman Hoffstetter, have never before been \nreleased, and according to Pristine Stokowski’s 1923 effort is the only \nknown recording of Eichheim’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChinese Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which is part of a suite entitled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOriental Impressions.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Eichheim (1870–1942) was an American composer, conductor, and violinist\n who took an interest in the music of the Far East and included some \nelements of it in his compositions. This one sounds like it could be \nmusic for an early Hollywood film set in the Far East, and I don’t find \nit of much value. The recording appears to be incomplete, as it \nterminates abruptly. The 1924 excerpt from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMadama Butterfly\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n identified as “Act II: Prelude (Waiting Music),” is actually the \n“Humming Chorus” that ends act II, scene 1 (without, of course, the \nhumming). The Hoffstetter selection, also recorded in 1924, is a \nStokowski arrangement of the familiar \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from a string quartet once attributed to Joseph Haydn as his op. 3\/5. \nStokowski here maintains a firm and fairly brisk tempo, avoiding the \ndaintiness and saccharinity with which some musicians of this era \ntreated 18th-century music. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs is often the case with Pristine CD \nreleases, there are some issues with the accompanying printed matter. \nThere is a typo in “Festival at Baghdad” (the “l” in “Festival” is \nomitted). The insert states that previously unissued recordings are \nmarked with an asterisk, but no items are so marked. One must go to the \nPristine web site to discover that the Eichheim, Puccini, and \nHoffstetter pieces are first releases. While the insert for Volume 3 \nindicated the year when each item was recorded, for this release such \ninformation is available only from the web site. A common problem with \nPristine inserts is that the track numbers are very small and faint and \ndifficult for my elderly eyes to make out. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere can be little doubt that Pristine\n has presented these ancient recordings in the best possible sound, and \nthey offer some listening pleasure, but it is equally clear that their \ninherent limitations in sonic accuracy cannot be completely overcome. \nThat fact, and the fact that most of the selections are heavily cut and \nsome do not show Stokowski at his best, probably limits the appeal of \nthis release to Stokowski completists and those with a strong interest \nin the history of recording. For those not completely committed but \nwishing to give it a try, I would recommend going for Volume 3, because \nof the truly historic Rachmaninoff performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\nThe fourth and final volume documenting Stokowski’s acoustic legacy with\n the Philadelphia Orchestra delves back and forth between 1919 and 1924 \nand provides another raft of rare and stimulating music-making (reviews \nof \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003eVolume 1\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003eVolume 2\u003c\/a\u003e ~ \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Sep\/Stokowski_acoustic_v3_PASC471.htm\"\u003eVolume 3\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n Again, too, one mustn’t expect much by way of symphonic unity, if one \ncan put it thus. These are bleeding chunks, abridgements and the rare \nintact piece, all products of the recording horn in the days when one \nwas grateful for what one could get. So whilst the Blue Danube is \ntruncated to four-and-half-minutes what remains is still very appealing \nand well recorded for the date, May 1919. The Largo from the \u003cem\u003eNew World\u003c\/em\u003e\n serves to remind one that Stokowski recorded the whole work almost as \nsoon as electric recording appeared, in 1925 and – by one of those \nnow-familiar quirks (look at Albert Coates’ legacy, for instance, or \nHenry Wood’s) - he was to do so again in 1927. These two readings are \npreferable to the 1934 recording but the 1920 torso is revealing for the\n bass reinforcements, the sensitive portamenti and the rather abrupt \ncut-off.\u003cbr\u003e \u003cbr\u003e Thaddeus Rich was a long-serving Philadelphia \nconcertmaster, assuming the role in 1906 and relinquishing it two \ndecades later. Inveterate violin collectors may know he left behind a \nmeasly four solo 78rpm sides for Okeh, but one of them was of some \nFauré, so at least the A\u0026amp;R gurus at that small company showed some \ntaste. He takes the solo in one of the movements from \u003cem\u003eScheherazade.\u003c\/em\u003e\n Another eminent member of the orchestra was that elite player Marcel \nTabuteau whose oboe weaves its exotic and evocative spell in the \u003cem\u003eBacchanale\u003c\/em\u003e from \u003cem\u003eSamson and Dalila\u003c\/em\u003e. Whilst \u003cem\u003eFinlandia\u003c\/em\u003e was subject to the usual cuts it is notable for being the first American recording of the piece but with the \u003cem\u003eAllegretto\u003c\/em\u003e\n from Brahms’s Third Symphony, Stokowski went one better. This is the \nfirst recording of any movement from a Brahms Symphony: April 1921 was \nthe date. Later, as we know, Stokowski was to set down the first \nAmerican cycle of the complete Brahms symphonies.\u003cbr\u003e \u003cbr\u003e Recorded over a luxurious two sides Strauss’ \u003cem\u003eDance of the Seven Veils\u003c\/em\u003e\n offers plenty of opportunities for panache and colour. It’s known that \nthe Philadelphia’s complement in these sessions actually diminished over\n time, so by 1922 the Schubert German Dances was played by an orchestra \nlining up 7-4-3-3 with winds and including a saxophone and contrabassoon\n to get doubling or eking out that all important bass line. The \nperformance of the \u003cem\u003eEntr’acte\u003c\/em\u003e from \u003cem\u003eKhovanschina\u003c\/em\u003e \nactually features an audibly bigger band, and appropriately so, for this\n outstanding reading shows Stokowski’s Russophile antenna quivering with\n power.\u003cbr\u003e \u003cbr\u003e The final three items are all first releases. Both the \nPuccini and Hofstetter – then commonly attributed to Haydn – are very \nwelcome to the official discography but the standout piece is Henry \nEichheim’s \u003cem\u003eChinese Rhapsody\u003c\/em\u003e from his \u003cem\u003eOriental Impressions\u003c\/em\u003e.\n Eichheim was a violinist and had been in the Boston Symphony from \n1891-1912. The rich tapestry of the winds and the rather fearsome \npercussive outburst easily transcend the technology and are heard \nsplendidly in this restoration. Collectors will know that in the 1930s \nStoky recorded the same composer’s \u003cem\u003eBali\u003c\/em\u003e, which can be found in a fascinating \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Feb02\/Stokowski_PhiladelphiaRarities.htm\"\u003ePhiladelphia Rarities\u003c\/a\u003e disc on Cala.\u003cbr\u003e \u003cbr\u003e\n All good things must come to an end and that’s the case with this \nseries. It’s been well compiled and transferred and has provided \ninvaluable première recordings of rare material. Who could want for \nmore?\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC476.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFinal instalment completing all of Stokowski's extant Philadelphia Acoustic recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n good things must come to an end and that’s the case with this series. \nIt’s been well compiled and transferred and has provided invaluable \npremière recordings of rare material. Who could want for more?\" - \nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis fourth and final volume completes our set of Stokowski's \ncomplete surviving acoustic recordings, and again I'm grateful to Edward\n Johnson, Mark Obert-Thorn and Ward Marston for their assistance in \nsourcing these often rare and, again here in three cases, previously \nunissued recordings. The use of new pitch stabilisation techniques, \nalong with careful re-equalisation and noise reduction, has once again \nmade great strides in bringing us closer to the sound of The \nPhiladelphia Orchestra at the time of its earliest recordings, and \ndespite the massive limitations of the acoustic horn recording process, \nthis is a delightful listen from start to finish.\u003c\/p\u003e\u003cp\u003eOne final bonus: Henry Eichheim's \u003cem\u003eChinese Rhapsody\u003c\/em\u003e, never previously issued in the 93 years since it was recorded, appears here to be a world première release.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eJohann STRAUSS II (1825-1899)\u003c\/b\u003e\u003cbr\u003e 1. On the Beautiful Blue Danube (An der schönen, blauen Donau, arr. Stokowski), Op. 314 [4:35]\u003cbr\u003e Recorded May 10, 1919\u003cbr\u003eVictor 74627, matrix: C-22825-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eAntonin DVOŘÁK (1841-1904)\u003c\/b\u003e\u003cbr\u003e 2. Symphony No. 9 in E minor, Op. 95 \"From the New World\" - 2nd mvt - largo [4:39]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 74631, matrix: C-24128-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eNikolai RIMSKY-KORSAKOV (1844-1908)\u003c\/b\u003e\u003cbr\u003e 3. Scheherazade, Op. 35 - Young Prince and Young Princess [3:45]\u003cbr\u003e Recorded March 25, 1921\u003cbr\u003eVictor 74691, matrix: C-24629-10\u003cbr\u003e 4. Scheherazade, Op. 35 - Festival at Baghdad [4:14]\u003cbr\u003e Recorded May 9, 1919\u003cbr\u003eVictor 74593, matrix: Victor C-22810-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eCamille SAINT-SAËNS (1835-1921)\u003c\/b\u003e\u003cbr\u003e 5. Samson et Dalila, Op. 47: Act 3 - Bacchanale [4:16]\u003cbr\u003e Recorded December 6, 1920\u003cbr\u003eVictor 74671, matrix: C-24630-5\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJean SIBELIUS (1865-1957) \u003c\/b\u003e\u003cbr\u003e 6. Finlandia, Op. 26 [3:52]\u003cbr\u003e Recorded April 18, 1921\u003cbr\u003e Victor 74698, matrix: C-24988-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eJohannes BRAHMS (1833-1897)\u003c\/b\u003e\u003cbr\u003e 7. Hungarian Dance No. 1 in G minor transc. Stokowski [3:37]\u003cbr\u003e Recorded May 21, 1920\u003cbr\u003eVictor 1113, matrix: B-24130-3\u003cbr\u003e 8. Symphony No. 3 in F, Op. 90, 3rd mvt. - Poco allegretto [4:16]\u003cbr\u003e Recorded April 18, 1921 \u003cbr\u003eVictor 74722, matrix: C-24125-8\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRichard STRAUSS (1864-1949) \u003c\/b\u003e\u003cbr\u003e 9. Salome, Op. 54 - Dance of the Seven Veils [7:32]\u003cbr\u003e Recorded December 5, 1921\u003cbr\u003eVictor 74729, 74730, matrices: C-25788-3, C-25789-2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eFranz SCHUBERT (1797-1828)\u003c\/b\u003e\u003cbr\u003e 10. Moment Musical No. 3 in F minor, D.780 transc. Stokowski [2:18]\u003cbr\u003e Recorded January 28, 1922\u003cbr\u003eVictor 66098, matrix: B-25941-6\u003cbr\u003e 11. German Dances, D.783 [4:42]\u003cbr\u003e Recorded December 4, 1922\u003cbr\u003eVictor 74814, matrix: C-27012-7\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eModest MUSSORGSKY (1839-1881)\u003c\/b\u003e\u003cbr\u003e 12. Khovanshchina - Entr'acte [3:54]\u003cbr\u003e Recorded December 12, 1922\u003cbr\u003eVictor 74803, matrix: C-27069-4\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eHENRY EICHHEIM (1870-1942)\u003c\/b\u003e\u003cbr\u003e *13. Oriental Impressions - 5. Chinese Rhapsody (arr. Stokowski) [5:49]\u003cbr\u003e Recorded May 1, 1923\u003cbr\u003eUnissued, Matrix Nos. B-27909-1\/B-27910-1\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eGiacomo PUCCINI (1858-1921)\u003c\/b\u003e\u003cbr\u003e *14. Madama Butterfly - Act II: Prelude (Waiting music) [3:02]\u003cbr\u003e Recorded 22 December, 1924\u003cbr\u003eUnissued, Matrix No. B-31398-1 or 2\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cb\u003eRomanus HOFFSTETTER\u003c\/b\u003e (attrib. Haydn, arr. Stokowski)\u003cbr\u003e *15. Quartet in F, Op. 3, No. 5 2nd mvt. - Andante Cantabile    arr. Stokowski [3:03]\u003cbr\u003e Recorded December 31, 1924\u003cbr\u003eUnissued, Matrix No. B-31624-1 or 2\u003cbr\u003e\u003cbr\u003e Recorded at Camden Church Studio (Victor Building no 22), Camden NJ, USA \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC476.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC476.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37143706765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37143706829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37143706893,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC476_283438c4-475d-4418-be44-24688697eea9.jpg?v=1494336908"},{"product_id":"pasc446","title":"WALTER conducts Bruckner \u0026 R. Strauss (1953\/54) - PASC446","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRUCKNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 9\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTill Eulenspiegels lustige Streiche\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and recordings, 1953 and 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 65:47 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf I had to have only one Walter Bruckner Ninth it would be this 1953 New York broadcast578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruno Walter is more difficult to \ncharacterize in a few adjectives than most conductors. This is partly \nbecause his interpretive view seemed to change late in life, \nparticularly in post-heart attack years, but more importantly it is \nbecause he brought a somewhat improvisatory outlook to his conducting \nand because he refused to apply any kind of “one-size-fits-all” \napproach. Thus he could be seen (or heard) alternatively as genial, \nfierce, majestic, fiery, dramatic, warm, tumultuous, and lyrical. For \nthose who like to sum up a great artist in a word or two, he presented a\n real challenge. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHis seven surviving recorded \nperformances of Bruckner’s incomplete Ninth Symphony (only one a studio \nrecording, and one live version still unpublished) give plenty of \nevidence about the spontaneity and flexibility of Walter as a musician. \nWhile the general interpretive viewpoint remains relatively constant \nuntil the 1959 studio recording, with similar overall tempos for each \nmovement and even similar tempo relationships within movements, there \nare still meaningful differences among the ones with which I am \nfamiliar. The studio recording is significantly slower than his live \nperformances (some three-plus minutes longer in the outer movements, and\n a bit over a minute in the briefer scherzo), and it is less incisive, \nless propulsive. James Altena, in a very perceptive review of a Pristine\n reissue of Columbia’s original in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e37:1,\n makes a good case for this performance. I tend to agree with his \noverall assessment based on that superior transfer, but if I had to have\n only one Walter Bruckner Ninth it would be this 1953 New York \nbroadcast, a performance that has never been available before in \nadequate sound. Pristine found (from a collector) a superb source, and \nhas drawn fine monaural sound from the original, and then added its XR \nambient stereo touch which gives the music some space. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere was initial confusion when this \nwas first released, due to what turned out to be incorrect information \nthat it was a newly discovered 1950 performance. In fact, on the \nFebruary 5, 1950 weekly NYP radio broadcast, the Bruckner Ninth that was\n performed on the February 2 and 3 concerts was replaced by works of \nMozart. It is easy to see why this Pristine release wasn’t initially \nrecognized as the 1953 one, because the sound quality is so much \nsuperior here to prior reissues that it indeed does not sound like the \nsame performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSome of the five alternative available \nversions merit very little space here. The 1946 New York Philharmonic \nbroadcast suffers from poor sound. I have not heard the 1948 \nPhiladelphia Orchestra broadcast, only released on Memories and Music \n\u0026amp; Arts. The only transfer I have heard of the 1953 Vienna \nPhilharmonic performance, on the Andromeda label, is muddy and \ncompressed and offers little pleasure. Jeffrey J. Lipscomb, in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e32:3,\n reviewed the only real competition to this Walter performance, the 1957\n New York Philharmonic performance released by Music \u0026amp; Arts in quite\n good sound. This 1953 performance is preferable, partly because of \nPristine’s quite wonderful transfer and partly because of the even \ngreater energy and sense of deep commitment that Walter and his New York\n musicians bring to the music here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWalter uses the Alfred Orel edition of \nBruckner’s original score, a version that does not differ in any \nsignificant way from Nowak’s, and Walter makes a few adjustments along \nthe way. But the editorial details are minor points for Bruckner \nscholars to study. For most of us, it is the quite unusual combination \nof raw power and heartfelt warmth that distinguishes this performance. \nThe strings have a lovely glow when they are stating the first \nmovement’s main tune (listen at 16:09 of the first movement to the \nunanimity of phrase-shaping and tonal balance that the violins exhibit).\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruckner has always seemed to me to be \nthe one truly important composer whose music is completely dependent on \nthe conductor if it is to make its effect. It is not, of course, that \nBeethoven, Brahms, Tchaikovsky, Dvořák, or even Mahler play themselves. \nAll composers benefit from committed, stylistically unified and \nappropriate performances. But many can survive less than that. Bruckner \ncannot. His music will seem shapeless, meandering, repetitive, and \nultimately pointless if the conductor does not master the overall \narchitecture of the score. Conductors who, for example, lack patience to\n give Bruckner’s pauses their full measure, think they are helping move \nthings along. In fact they are damaging the very essence of the music, \nand making it seem longer, not shorter. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat seems to distinguish Walter’s \nBruckner is his ability to encompass the wide range of the spiritual and\n emotional content of the music, particularly in his prime years before \nthe heart attack that sapped his strength before his final stereo \nrecordings for Columbia (with too small an orchestra as well, something I\n suspect a stronger, younger Walter would not have accepted). The \nscherzo here is big-boned and lusty at one moment, intimate and smiling \nthe next. The outer movements combine drama and power with an unusual \nintimacy in a way quite unlike that of any other performance I know. \nAdherents of Horenstein, Furtwängler, Barenboim, Wand, and others will \nfind touches in Walter’s reading that reminds them of their favorites. \nHowever, in the end it sounds like none of them. This is a unique vision\n that has about it the sense of being improvised on the spot. Walter \nengages in some strong tempo fluctuations, but the transitions are so \nperfectly judged and executed that at no point does the music’s \nstructure weaken. The conductor’s sense of appropriate rubato is nowhere\n more apparent than in the finale, and it is complemented by his keen \near for dynamic shadings, and the infinite variety of dynamics that he \nbrings to the score. The harmonic crisis at the core of the finale is \nterrifying here, with the dissonances emphasized in a way that is not \nthe case in Walter’s studio recording. Pristine’s transfer brings all of\n this to life vividly. Walter was one of Bruckner’s early and important \nadvocates, and the fact that he performed this work with the New York \nPhilharmonic in 1946, 1950, 1953, and 1957, at a time when Bruckner \nperformances were a rarity, demonstrates his devotion to the composer. I\n do not believe that devotion has come across in a more impassioned way \nthan in this performance. The Philharmonic of 1953 is not the most \nrefined or accurate of orchestras, but it is more than good enough to \nbring off the power and beauty of Walter’s performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose of Pristine admits that the recorded sound of the 1954 New York \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n not of the same quality as the Bruckner. The sense of compression at \nclimaxes is frustrating, as are the limitations on frequency response at\n both extremes of the spectrum and the almost non-existent dynamic range\n (Rose has done what he can to expand the latter). It is worth having \nbecause Walter did not leave us much in terms of this piece. I haven’t \nheard the Los Angeles Philharmonic broadcast (on Nuovo Era and a \nJapanese Bruno Walter Society LP), which I believe is the only \nalternative. So it is good to have this, especially since Walter’s way \nwith the score is boisterous and robust, and the general interpretive \noutline comes through despite the sonic difficulties. The Bruckner is \nthe reason for this disc, and it is reason aplenty. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eEven if you own this 1953 New York \nperformance in an earlier incarnation (I have heard it on both Tahra and\n Nuova Era), replacement with this version is almost mandatory. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is a vital addition to the\n Walter discography, though not quite for the reasons originally \nanticipated. Back in issue 36:3, when I reviewed a Music \u0026amp; Arts \nrelease of live performances by Walter of Bruckner’s Symphonies Nos. 4 \nand 9, and Mozart’s Symphony No. 35, I provided the following list of \nWalter’s performances of the Ninth in circulation among collectors (with\n only the Sony issue being a studio recording rather than a live \nperformance): \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"main\" frame=\"box\" rules=\"all\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eDate\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eOrchestra\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eCD Issue (if any)\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eTimings\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e03\/17\/46 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1110 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:42 9:37 19:42 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/28\/48 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003ePO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1262 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:19 9:43 19:28 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/02\/50 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003enone (private collection) \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e20:12 9:55 19:15 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e08\/20\/53 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eVPO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eAndromeda ANDRCD 9092 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:10 10:09 19:17 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e12\/27\/53 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eTahra TAH 571 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e20:32 10:09 19:46 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/10\/57 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1212 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e19:59 10:01 19:14 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e11\/13\/59 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLAP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003enone (private collection) \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e22:30 10:53 21:58 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e11\/16–19\/59 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCSO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eSony SMK 64 483 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e23:51 11:29 23:16 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis list now requires revision, for \nthe putative February 2, 1950 performance is now proven to be a chimera,\n due to some dedicated detective work by several knowledgeable persons. \nAn unnamed collector acting in good faith provided Andrew Rose with a \ncopy of what purported to be that unpublished performance. Rose duly \nrefurbished it according to his usual exceptional standards (more on \nwhich below) and released it. A sharp-eared collector of historic \nrecordings, David Griegel of San Diego, who has a track record of \nidentifying performances of unknown provenance and mistaken attribution,\n spotted that the release is in fact the December 27, 1953 performance \npreviously released by Tahra and Palladio. Griegel in turn made contact \nwith noted historic recordings expert Mark Kluge (who has written \nbooklet notes for many previous releases of Bruno Walter material) and \nJohn F. Berky, editor of the redoubtable abruckner.com web site. They \nperformed further research, did A-B comparative listening tests of the \nPristine Audio disc against the previous Tahra release, and verified \nthat Griegel was correct. (February 2, 1950 was not a broadcast concert \ndate—for the broadcast on February 5, Mozart’s “Haffner” Symphony and \nPiano Concerto No. 20 were substituted for the Bruckner. The concerto \nperformance with Rudolf Firkušný once appeared on a “pirate” Italian CLS\n LP with the Symphony No. 40 from the same concert, while the “Haffner” \nhas circulated privately among collectors.) Berky duly made a notation \non his web site; \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reader and friend Robert Alps spotted that notation and (knowing of my \ndedication to Bruno Walter) notified me. I in turn contacted first Berky\n and then Andrew Rose; the latter duly also verified the misattribution \nand has now corrected the notes and other materials for this release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHaving now heard both the original \nunprocessed master that Rose received and his remastered version, it is \nnot surprising that this misidentification went undetected heretofore; \nnot only do the inferior original sonics effectively conceal a number of\n tell-tale details that reveal its identity when brought to the fore, \nbut it is also pitched about a semitone sharp. So, scratch one item from\n the list of surviving live performances attributed to Bruno Walter and \nreduce the number of his surviving renditions of the Bruckner Ninth from\n eight to seven, with one (the live Los Angeles performance, a subpar \nperformance in poor sound) remaining unreleased. But, to quote the \nvenerable Latin tag, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eO felix culpa!\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (O, happy fault!). For, even though this is not a completely new \naddition to the published Walter discography, it might as well be. Rose \nhas lavished his now customary superb remastering skills on this new \nsource with his trademark XR process, and the marvelous result \ncompletely outstrips all previous issues. The sound is exceptionally \ngood for its era; only occasional minor distortion remains at a few \ngreat orchestral climaxes. Even more importantly, this release gives us \nfor the first time a real sense of Walter’s typical way with this work. \nAlthough Pristine’s superb remastering of the 1959 studio recording \nprompted a major reassessment by me of that version in a review in issue\n 37:1, its significantly broader pacing and more rounded contours make \nit an atypical representative. Here, while Walter’s trademark lyricism \nand humane warmth are as always ever-present, there is also an almost \nfierce determination and urgency in what is one of the fastest \nperformances of the work by any conductor. Bruckner famously dedicated \nthe score to “Dem lieben Gott” (To the beloved God); but this is no \nserene view of the Almighty enthroned in majesty, but rather one of Him \nenacting awe-inspiring justice in the great and terrible day of the Last\n Judgment. Walter fully captures all this in a truly remarkable \ncombination of tautness of line, sudden but always apt tempo \nfluctuations, and liberal use of rubato. Although the details vary only \nslightly from his other live performances—Philadelphia in 1948, Vienna \nin 1953, and New York in 1946 and 1957 (see my aforementioned review \nfrom 36:3 for additional details)—in those some of the transitions are \nnot quite ideally calculated and come off as a little abrupt, whereas \nhere all the shifts mesh well-nigh ideally. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo add icing to the cake, Rose also \nprovides an authentic premiere addition to the published Walter \ndiscography, the previously unreleased broadcast of the December 26, \n1954 New York Philharmonic performance of Richard Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This is especially welcome on three counts. First, Walter never \nrecorded the work in the studio. Second, the only other surviving \nperformance of Walter conducting this score, a broadcast performance \nwith the Los Angeles Standard Symphony dating from either 1949 or 1950 \n(I would much appreciate hearing from anyone who can provide the precise\n date for this!), is in inferior sound and performed (with considerable \nspirit) by an inferior orchestra. Third, there is Walter’s own \ninimitable way with this score. Not as metaphysical as Furtwängler, nor \nas bitingly ironic as Reiner or Solti, nor as slyly good-humored as the \ncomposer’s own 1942 Vienna version, it instead features a Till who is a \ntrue \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJedermann\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, a\n warmly humane three-dimensional person rather than a caricature or \nsymbol, fleshed out in both his hijinks and his foibles with \naffectionate warmth. While the recorded sound is inferior to that of the\n Bruckner from a year earlier, with more distortion at climaxes and some\n congestion, it is still quite listenable and has plenty of orchestral \ncolor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is, then, a major release of \ninterest not just to fans of Bruno Walter such as myself, but to all \ncollectors of historic orchestral recordings of music by Bruckner or \nRichard Strauss, and merits a top-notch recommendation accordingly. This\n has “Want List 2016” written all over it for me. Or, at least, it \nshould, except for one possible complication. As I write these lines, \nPristine has just released a two-CD set of Walter recordings, containing\n among other items all of his LP recordings that have not previously \nbeen released on CD. When I first became a critic for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I originally vowed that, to spare readers excessive indulgence of my \ndevotion to Bruno Walter, an annual Want List would not feature more \nthan one Bruno Walter recording. I’m now in the position of either \nmaking an excruciatingly painful choice, or of breaking my vow. Well, I \nhave another 10 months to decide—stay tuned! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOtto Klemperer said, “Bruno Walter is a\n very good conductor, but he is a moralist. I am an immoralist.” There \nis much truth in that statement. Bruno Walter was a believer. He liked \nto say that in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Magic Flute\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Mozart was near to God. Bruckner, for Walter, was someone who had found\n God. The conductor was devoted to discovering the sources of spiritual \nwisdom in Bruckner’s work. Not for him was the bromide of Mahler, his \nfriend, that Bruckner was “half genius, half idiot.” Indeed, at times in\n Walter’s performances of Bruckner there is an emotional radiance I have\n found in no other interpreter of this music. Walter possessed an \nidentification with Bruckner’s ethos quite unique among the composer’s \ndevotees. We are most familiar with Walter’s take on the Ninth Symphony \nfrom his stereo recording with the Columbia Symphony. That is a slow, \nsomewhat steady rendition that mixes sobriety with insight. It is rather\n lacking in ecstasy. Also, Erich Leinsdorf stated that Walter in the \nlast few years of his life lost some of the strength in his conducting \narm, and had trouble keeping large ensembles together. In the Ninth, one\n can hear the Columbia Symphony playing very cautiously at times. Now we\n have a live account with the New York Philharmonic, and what a contrast\n it is. The performance is much faster, filled with exuberance, \nbrilliant execution, and terrific control. Walter’s tempos are \nconsiderably flexible, always aiming at maximum characterization for the\n music. Yet the conductor’s spiritual identification with the symphony \nis as great as ever. There is not a single pedestrian moment. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWalter seems to use the original 1894 \nversion of the Ninth, edited by Alfred Orel, which the conductor \nemployed in his stereo recording. Bruckner’s dedication of the work, “to\n the Dear Lord,” is crucial to understanding Walter’s interpretation. At\n the symphony’s opening, we’re introduced to the ethic of strenuous \nChristianity. We find a mind similar to that of the Jesuit priest Gerard\n Manley Hopkins: “The world is charged with the grandeur of God.” The \nclouds part at the first movement’s beginning to reveal celestial light,\n as the brass throughout the composition often inhabit the world of \nRenaissance polyphony. The second subject, in luscious strings, portrays\n the blessed soul traveling through creation, seeking contentment that \nonly comes from the Almighty. As the movement proceeds, we see how \npersonal Bruckner’s relationship to God is. God is his refuge from \ndespair and uncertainty. When the second subject returns toward the \nmovement’s end, it is transfigured, as if the soul’s burdens are \nmagically lifted. Walter treats this movement’s conclusion in the best \nCecil B. DeMille fashion, portraying God as solitary upon a mountain \ntop. The scherzo for Walter depicts what Yeats called “The Trembling of \nthe Veil,” the sense that the poet’s generation in the 1890s—the time of\n the symphony—would receive an intimation of the eternal. The middle \nsection portrays the soul in breathless anticipation. Oboist Harold \nGomberg’s playing in the scherzo is especially sensitive. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe concluding movement for Walter is a\n meditation on final things, salvation and the resurrection. The second \nsection represents the soul’s anticipation of death, and the consolation\n of reunion with the eternal. Bruckner is no saint; the courage to face \ndeath does not come easily to him. Yet the symphony ends with the \ncomposer bowing to God’s ineffable mystery. Walter was not the only \nconductor in concert to dispatch the Ninth in a little over 50 minutes. \nHans Knappertsbusch in 1958 and John Barbirolli in 1966 did so as well. \nHowever, these three great conductors could not have more divergent \nviews of the work. Knappertsbusch, using a different edition, is all \nabout mystery. Barbirolli’s performance is filled with serious \nintrospection. Walter inhabits the ethos of Hopkins’s poetry: “Glory be \nto God for dappled things.” Who is right, I can’t say. The sound \nengineering for Walter is unusually good for a live recording from 1953:\n clear, reasonably well balanced, with a pretty good dynamic range. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWalter’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a stunning achievement. It is filled with wit and irascibility. The \nPhilharmonic first chairs have a field day, most notably concertmaster \nJohn Corigliano, Sr. and first horn James Chambers. Unfortunately, the \nsound engineering is rather limited. The frequency response is poor and \nthere is considerable overload, especially when Saul Goodman bangs away \non the timpani. Nevertheless, the recording can be enjoyed. The main \ndraw of this CD is the Bruckner. The stereo recording of the Ninth I \nlisten to most often is by Hiroshi Wakasugi and the Saarbrücken Radio \nSymphony. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I like Neeme Järvi and the Royal Scottish National Orchestra. It is \ngood to have a memento of Bruno Walter at the peak of his career in the \nBruckner. He summons music-making of high seriousness and epic grandeur.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC446.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter \u0026amp; the NY Philharmonic magnificent in a stunning Bruckner 9\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I do not believe that devotion has come across in a more impassioned way than in this performance\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThe two recordings in this programme have remained in private hands \nsince their recording from live Carnegie Hall concerts in the 1950s, and\n their provenance is unclear. Copies were donated by a private collector\n for this issue. Of the two, the Bruckner is by far the better, \ntechnically speaking: a full-frequency recording of remarkable quality \nfor its age, it appeared at first to be unusually swift for a Walter \nperformance of this work. Frequency analysis forced a revision of this, \nhowever - when properly pitched at the A440 used by the Philharmonic in \nthe early 1950s it closely matches other Walter recordings. Nevertheless\n the collector who passed it to me still regards it as perhaps Bruno \nWalter's finest recorded performance of Bruckner's 9th Symphony. It was this mis-pitching that led to it being long and incorrectly identified (and initially released by Pristine) as a 1950 performance, rather than a 1953 broadcast that has previously surfaced, albeit in far inferior sound quality. We were quick to correct this after release and would direct readers to the reviews quoted below which cover this subject in more detail.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBy contrast, the Strauss is a far rarer recording in the Walter \ndiscography (an earlier LA Philharmonic performance was issued on a \nNuovo Era CD and a Japanese Bruno Walter Society LP). It appears to have \noriginated on a slightly swishy acetate disc recorded from an AM radio \nsource, hence its limited frequency and dynamic range. Sonic \nshortcomings notwithstanding, it is a fabulous interpretation, \noutclassing the Los Angeles recording on a number of performance levels.\u003c\/p\u003e\n\u003cp\u003eIt should be noted that neither of these recordings included applause\n or announcements, and movement joins in the Bruckner were silent, \nindicating probable 12\" acetate side change points - I have preserved \nall that remains.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem style=\"font-weight: bold;\"\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCKNER\u003c\/b\u003e  Symphony No. 9 in D minor, WAB109\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive concert recording, Carnegie Hall, 27 December, 1953\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\n\u003cp\u003e \u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Till Eulenspiegels lustige Streiche, Op.28\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive concert recording, Carnegie Hall, 26 December, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003ePreviously unissued\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC446.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC446.pdf578a9379d1e540bd96d26f0","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31976075021,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976075085,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976075149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976075213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC446.jpg?v=1487682753"},{"product_id":"pasc482","title":"WALTER The Complete Acoustic Columbia Recordings (1924-25) - PASC482","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Der Freischütz – Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e A Midsummer Night’s Dream – Nocturne\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Damnation of Faust – Minuet of the Will-o’-the-Wisps\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tristan und Isolde – Liebestod\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger – Prelude to Act 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Götterdämmerung – Siegfried’s Rhine Journey\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Siegfried Idyll\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Death and Transfiguration\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1924-25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:51\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\u003cul\u003e\n\u003c\/ul\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDespite the primitive nature of the horn recording, these are especially important examples of Walter’s art578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAll of Bruno Walter’s 1924-25 acoustic Columbia recordings fit into this\n handy 76-minute disc. They were made at the company’s Petty France \nstudios in London, which was not always the most responsive environment \nfor large-scale acoustic recording but which managed to yield a good \nreturn over the years. And the A\u0026amp;R men chose repertoire wisely, \nencouraging Walter to record Wagner, Strauss, Weber, Berlioz and \nMendelssohn; he had just starred in Covent Garden’s German Season \ndirecting the Ring, \u003cem\u003eTristan,\u003c\/em\u003e and \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e. \nIndeed, despite the primitive nature of the horn recording, these are \nespecially important examples of Walter’s art as he never returned to \nthe studio to record the Tristan \u003cem\u003eLiebestod\u003c\/em\u003e, the \u003cem\u003eMidsummer Night’s Dream\u003c\/em\u003e music or the Berlioz excerpt.\u003cbr\u003e \u003cbr\u003e Weber’s overture to \u003cem\u003eDer Freischütz\u003c\/em\u003e,\n which was only issued in America, can be heard over two sides. There \nare the usual bass reinforcements and the strings slither about as was \nthen fashionable – especially noticeable in the ad-hoc British set-up of\n the time – but the direction is authoritative. I assume one of the \nBrain family was drafted in for the Mendelssohn \u003cem\u003eNocturne\u003c\/em\u003e on a freelance basis whilst the Berlioz goes vey agreeably. The \u003cem\u003eLiebestod\u003c\/em\u003e\n sees the strings on so-so form and the winds’ intonation wanders - \nthere’s a degree of pitch battling to be heard. Just before they \nrecorded the \u003cem\u003eTristan\u003c\/em\u003e extract Walter and the band tackled the Prelude to Act III of \u003cem\u003eDie Meistersinger\u003c\/em\u003e\n and here one can hear the first desk fiddles sawing happily away – this\n was the band known as the Royal Philharmonic Orchestra, though it was \nmuch earlier than Beecham’s orchestra of the same name. One wonders how \nmuch rehearsal time was available as ensemble is approximate and the \nstygian bass reinforcements sound very treacly. But of enthusiasm \nthere’s no shortage.\u003cbr\u003e \u003cbr\u003e Most of these pieces had already been recorded by 1924 and that goes for \u003cem\u003eSiegfried’s Rhine Journey\u003c\/em\u003e. In fact, Walter’s was not even the first British recording as Percy Pitt had made a disc of it back in 1921. The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e\n took up four sides of two 78s. Walter does little actively to resist \nthe lashing of sentimental portamenti, mostly – thankfully – uniform. \nThough the bass reinforcements tend to glue it down and prohibit maximum\n flow, it’s an endearing reading and can be listened to in the context \nof the near-simultaneous recordings of the piece made by Albert Coates, \nLeo Blech and Siegfried Wagner’s own recording. The other major \nundertaking is the last, Strauss’s \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e \nwhich stretches 21 minutes. This must have been suggested because of \nWalter’s operatic prestige in Strauss. Perhaps surprisingly Columbia was\n a Johnny-come-lately as Abendroth, Coates and Eduard Mörike had all \nrecorded it by then. Walter’s searing reading is hindered only by the \ncircumstances of the recording and the unfamiliar orchestra.\u003cbr\u003e \u003cbr\u003e \nThis is a valuable corpus of recordings, splendidly transferred. As I’ve\n noted before Pristine is doing worthwhile work on behalf of Bruno \nWalter’s early recording career, which has long been overlooked in the \nworld of sonic restoration.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC482.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's complete Royal Philharmonic Columbia acoustics\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a valuable corpus of recordings, splendidly transferred\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAlthough Bruno Walter claimed late in life that he had made his first\n recordings around 1900, his earliest documented discs date from 1923 \nwhen he began a series for Grammophon\/Polydor in Berlin, most of which \nhave been reissued on Pristine PASC 142 and PASC 322.  In May, 1924, \nWalter was in London for the first presentation of a German opera season\n at Covent Garden since the end of the Great War.  That month, he \nconducted Wagner’s \u003cem\u003eRing\u003c\/em\u003e cycle, \u003cem\u003eTristan und Isolde\u003c\/em\u003e, and Strauss’ \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e\n in enthusiastically-received productions featuring Frida Leider in her \nCovent Garden début, Lauritz Melchior, Friedrich Schorr, Lotte Lehmann \nand Elisabeth Schumann.\u003c\/p\u003e\u003cp\u003eOn May 22, Walter entered the Columbia studios at Petty France to \nmake the first in a series of discs for a label with which, on one side \nof the Atlantic or the other, he would be associated for much of the \nrest of his life.  A \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was recorded that day, followed by the first three sides of Strauss’ \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e the following day; however, neither was approved for release. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIt would not be until the following December that Walter, who had \nreturned to London to conduct the (old, pre-Beecham) RPO in a \nperformance of Elgar’s First Symphony in the presence of the composer, \nwould be back in the Columbia studios.  Over the next five days, he \nwould preside over four recording sessions, one of which was devoted to a\n single title (Mozart’s \u003cem\u003eMarriage of Figaro\u003c\/em\u003e Overture) which \nultimately remained unissued.  Four further sides would be recorded the \nfollowing February before the microphone supplanted the old acoustic \nmethod of recording.\u003c\/p\u003e\u003cp\u003eThe present collection brings together all of Walter’s published acoustic Columbias.  It includes one recording (Weber’s \u003cem\u003eFreischütz\u003c\/em\u003e Overture) which was only released in America, as well as two which were only published in Britain (the “Rhine Journey” and \u003cem\u003eSiegfried Idyll\u003c\/em\u003e).  A further recording of “Siegfried’s Funeral Music” from \u003cem\u003eGötterdämmerung\u003c\/em\u003e which came out on American Columbia credited to Walter was actually conducted by Hamilton Harty.\u003c\/p\u003e\u003cp\u003eThe repertoire chosen largely follows the composers and even some of \nthe particular works with which Walter was making a name for himself at \nCovent Garden at the time – much Wagner, along with Strauss – and \nincludes several works to which Walter would not return again in the \nstudio (the Mendelssohn, Berlioz and the \u003cem\u003eTristan \u003c\/em\u003e“Liebestod”). \n The playing of the orchestra is variable, both in ensemble and pitch; \nand some of the tempi seem a bit speeded up in order to get the music \nonto a single side (particularly in the Mendelssohn and the \u003cem\u003eMeistersinger\u003c\/em\u003e\n Prelude).  Elsewhere, though, Walter is given the opportunity to take \nas long as he wants, with the Weber overture spread over three sides, as\n it would not be in his Paris remake fourteen years later, and the \n“Liebestod” generously given two 12-inch matrices for its six-minute \nduration.\u003c\/p\u003e\u003cp\u003eThe transfers for this release drew wherever possible upon American \nColumbia “New Process” pressings (for the Weber, Mendelssohn, Berlioz, \nStrauss and Wagner “Liebestod”) which featured the most (relatively) \nquiet surfaces available, and English Columbia discs for the remainder. \n From its original release onward through all modern discographies I’ve \nseen, the Berlioz has always been misidentified as the “Dance of the \nSylphs” rather than as the “Minuet of the Will-o’-the-Wisps”, to which \nit has been corrected here.  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e  Der Freischütz, Op. 77 – Overture\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 December 1924 ∙ Matrices:  AX 795-3, 796-1 \u0026amp; 797-2 (Am. Columbia 67082\/3-D)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e A Midsummer Night’s Dream, Op. 61 – Nocturne\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 881-2 (Columbia L 1651)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eThe Damnation of Faust, Op. 24 – Minuet of the Will-o’-the-Wisps\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 December 1924 ∙ Matrix: AX 794-1 (Columbia L 1623)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Tristan und Isolde – Liebestod\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrices: AX 879-1, 880-2 (Columbia L 1652)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Die Meistersinger von Nürnberg – Prelude to Act 3 \u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 878-2 (Columbia L 1651)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Götterdämmerung – Siegfried’s Rhine Journey\u003c\/span\u003e \u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 December 1924 ∙ Matrices: AX 798-2, 799-2 (Columbia L 1636)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Siegfried Idyll \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 3 \u0026amp; 5 December 1924 ∙ Matrices: AX 782-1, 783-1, 789-2 \u0026amp; 790-2 (Columbia L 1653\/4)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. 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Strauss (1933-46) - PASC335","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eParsifal - Orchestral excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSalome - Orchestral excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1933-46\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:32\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNational Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eParis Conservatoire Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePasdeloup Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiero Coppola, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUltimately, you forget this is all a window on the past and are only sorry that the music has ended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePiero Coppola is a name less familiar to historic \nCD collectors than many. As a conductor Coppola was not one of the great\n iconic figures between the wars, but achieved a certain fame as the \nhead of His Master’s Voice in France. In this capacity he led and \nrecorded some of the great early French discs of Debussy and Ravel, \nincluding the first recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Schumann performances featured here begin with\n the most recent, the 1946 “Spring” Symphony Coppola recorded with Decca\n in Kingsway Hall. To its credit, one is struck by the modernity of the \nacoustic. (Would that Toscanini had been exposed to FFRR and recorded \nhere!) This is a normal-sounding orchestra in a normal symphonic space, \nthough \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003enoted\n the timpani weak when it was first reviewed, and I concur. That is a \nfairly serious flaw in Schumann. French ensembles of the era have not \noften been admired, and indeed are at times subject to caricature as \n“wheezing accordions,” but the French National Orchestra here, except \nfor a pinched oboe, sounds perfectly modern to me. As an interpretation,\n this “Spring” comes across as neither Szellish nor Furtwanglerian, but \noccupies a relaxed and natural middle ground, though a bit on the slow \nside as the movements proceed. When a conductor can expand nicely in the\n big fanfare climax of the first movement, you know you are on safe \nground, and Coppola does. The transfer is very good, with only the \ntiniest bit of refined hiss now and then to remind anyone of its 78-rpm \npast.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe 1933 “Rhenish” that follows does show its age,\n yet is somehow quite listenable. It is a mainstream interpretation \nrendered quite thrusting by up-close miking, but there is enough bass \nand acoustic space to feel the music float on its own tremoli, which is \nessential in Schumann. One notes in early recordings a tendency to play \nsolemn music quickly, probably to avoid boring people over the racket of\n the mechanics, and that is the case here with the “cathedral” movement.\n A rather French-sounding trumpet gives an unusually jaunty quality to \nthe finale. It is notable, though, how judicious and modern the use of \nportamento is throughout and how decently accurate the playing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere is a nice sense of fullness and drama to the\n Wagner excerpts that follow, though once again we are speeding along \nlike a movie score of the time. The pendulum-like solemnity of the \nTransformation Music is normally such that one feels clobbered by \nanvils. Here it is more like a stage villain trying to mesmerize a \nmaiden with a pocket watch.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven so, both the Wagner and the Strauss excerpts \nare effective, the latter somehow fuller and more evocative sonically. \nIndeed, the Pasdeloup horns sound very up-to-date, atmospheric, and \nevocative, as befits an orchestra named “Wolf-Step”! Ultimately, you \nforget this is all a window on the past and are only sorry that the \nmusic has ended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eSteven Kruger  \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC335.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eCoppola turns his talents to German composers, with superb results\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"he brings to this performance an altogether outstanding sympathy and a close understanding \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eof Schumann's essential warm-heartedness and naïveté\" - The Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe sources for the transfers were French Deccas for the Schumann ‘Spring’ Symphony; Disque Gramophone pressings for the ‘Rhenish’ and the \u003cem\u003eParsifal\u003c\/em\u003e excerpts; and a first edition late Orthophonic American Victor pressing for the \u003cem\u003eSalome\u003c\/em\u003e disc.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUMANN \u003c\/strong\u003eSymphony No. 1 in B flat major, Op. 38, \"Spring\" \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11-12 July 1946, Kingsway Hall, London \u003cbr\u003eMatrix nos.: AR 10462-2, 10463-2, 10464-2, 10465-2, 10466-1, 10467-1, 10468-2 and 10469-2 \u003cbr\u003eFirst issued on Decca AK 2151 through 2154\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eNational Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUMANN \u003c\/strong\u003eSymphony No. 3 in E flat major, Op. 97, \"Rhenish\"\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 7-8 November 1933, Salle Rameau, Paris \u003cbr\u003eMatrix nos.: 2PG 1195-97 and 1203-05 (all Take 1A) \u003cbr\u003eFirst issued on Disque Gramophone DB 4926-28 \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER \u003c\/strong\u003eParsifal - Orchestral excerpts\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 6 November 1933, Salle Rameau, Paris \u003cbr\u003eMatrix nos.: 2PG 1191-94 (all Take 1A) \u003cbr\u003eFirst issued on Disque Gramophone DB 4918-19\u003cbr\u003e\u003cbr\u003e\u003cstrong class=\"body\"\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e Salome - Orchestral excerpts\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 20 March 1934, Paris \u003cbr\u003eMatrix nos.: 0PG 1426-1 and 1427-1 \u003cbr\u003eFirst issued on Disque Gramophone DA 4854\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eOrchestre des Concerts Pasdeloup\u003cbr\u003e\u003cbr\u003e\u003cbr\u003ePiero Coppola\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Piero Coppola\u003cbr\u003e\u003cbr\u003eTotal duration: 79:32\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC335.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC335.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - SCHUMANN Symphony No. 1\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThat Coppola had a particular affection for Schumann we already more than suspected; now he brings to this performance an altogether outstanding sympathy and a close understanding of Schumann's essential warm-heartedness and naïveté, at the same time securing a cleanness of texture which is by no means common. He allows the music to be sentimental without becoming mawkish, and naif without being gauche.\u003cbr\u003e\u003cbr\u003eThe performance, as I have indicated, is a most satisfactory one. Coppola takes the fairylike finale at a very steady speed, producing a grazioso and slightly square effect totally different from that produced by Koussevitzky, who took it, I seem to remember (I speak without having the discs at hand) a good deal faster. At the same time, I do not agree with taking the coda of the scherzo so slowly: the tempo does not change to un poco più lento till 16 bars later. The balance of the orchestra is reasonably good, though the timpani are generally weak, and the cantabile tone of the first violins a little pallid. But it is a relief to hear a flute solo at the right level without it being boosted into the foreground. Once again, to my annoyance, Decca have managed to arrange these compulsorily auto-coupled sides so that the turn-over comes slap in the middle of the Larghetto.\u003cbr\u003e\u003cbr\u003eL. S., The Gramophone, June 1949, excerpt (link)\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW - RICHARD STRAUSS Salome Orchestral Excerpts\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eI don't suppose we shall hear the Strauss-Wilde Salome again, but it is mighty clever, in its erotic way: and yet a curiously bugaboo way, that perhaps would pall now that we are thrilled every day or supposed to be. Yet there is no other music really like this, that tackles so horrible a subject with such earnestness and vim. We have to remember that it is nearly thirty years old. The scene on this disc is that in which John (Jochanaan, as he is here called) is brought before Salome, repulses her attempt to vamp him, and descends again into his cistern-cell. There are numerous motives, which are very clearly set forth in Mr. Lawrence Gilman's guide to the opera (John Lane). Two leading ones of the prophet are that on the horns, about 1 in. on side 1, and the one which Mr. Gilman calls \"Prophecy,\" which is best heard at the start of side 2. There is also Salome's theme of \"Ecstasy,\" as Mr. Gilman calls it—the descending first-quarter-chime theme. It is worth one's while to hear this beautifully recorded playing of music that some may find powerful and others ugly, though not in the cacophonic sense in which, alas, we have been \"larned\" to use it in these post-war years.\u003cbr\u003e\u003cbr\u003eThe Gramophone, June 1934, excerpt\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34139328397,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34139328461,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC335_f0c0e5fd-ac11-455c-9b42-5af2ba87c2df.jpg?v=1647338068"},{"product_id":"pasc335-cd","title":"COPPOLA conducts Schumann, Wagner \u0026 R. Strauss (1933-46) - PASC335 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478146637,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478146701,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC335.jpg?v=1658308027"},{"product_id":"pasc343","title":"CANTELLI conducts Cherubini, Richard Strauss, Busoni (1954) - PASC343","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHERUBINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTod und Verklärung\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBUSONI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eBerceuse élégiaque\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBUSONI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTanzwalzer\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live at Carnegue Hall in 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:01\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis issue will be self-recommending to all admirers of this great though short-lived conductor.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis release contains almost all of a Cantelli concert from \n                  March 1954. Missing is the piece with which the concert ended, \n                  Ravel’s \u003ci\u003eBolero\u003c\/i\u003e. Cantelli expert, Keith Bennett, \n                  tells us in his notes that there has been at least one recording \n                  issued which purports to be of Cantelli’s performance \n                  on that occasion. However, he’s been unable to establish \n                  definitively whether the recording is the genuine article - \n                  reading between the lines, one suspects it’s spurious. \n                  The present transfers, by Andrew Rose, are from Keith Bennett’s \n                  own collection and Rose seems to have done a very good job. \n                  The sound is good and wears its near-sixty years well. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The Cherubini symphony has never really established a place \n                  in the repertoire. However, Toscanini took it up and in a note \n                  accompanying Cantelli’s 1952 broadcast of the work (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/June12\/Cherubini_Cantelli_PASC319.htm\"\u003ePASC \n                  319\u003c\/a\u003e) Keith Bennett suggests that Toscanini’s example \n                  inspired Cantelli’s interest. Apparently he was scheduled \n                  to conduct it again in New York in December 1956, a few weeks \n                  after the plane crash that cost him his life. It may not be \n                  a great symphony but Cantelli pays it the compliment of taking \n                  it very seriously. He gives a spirited account of the first \n                  movement and shapes the second movement elegantly. He secures \n                  strongly rhythmical playing in the \u003ci\u003eMinuetto\u003c\/i\u003e and the playing \n                  in the finale displays high levels of energy. I haven’t \n                  seen a score but it’s noticeable that the finale runs \n                  for 4:40, making it the shortest movement in the work - by contrast \n                  the first movement plays for 10:18; I wonder if Cantelli omitted \n                  some repeats or if the movement is genuinely so short. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003ci\u003eTod und Verklärung\u003c\/i\u003e comes off well, perhaps because \n                  Cantelli is fairly sober in his approach. He generates good \n                  atmosphere in the quiet opening pages and then in the much more \n                  urgent section (4:44 - 8:02) he really whips the orchestra up, \n                  though without doing anything to excess. The final revelation \n                  of the Transfiguration music itself (17:26) is noble - and Cantelli’s \n                  handling of the preceding pages, preparing for the theme, is \n                  exemplary. The piece isn’t one of the composer’s \n                  finest but Cantelli’s way with it is very persuasive. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  The Busoni \u003ci\u003eBerceuse\u003c\/i\u003e is an expanded version of a piano \n                  piece, which Busoni re-worked in response to his mother’s \n                  death in 1909. Most of the music is subdued in tone and delicate \n                  and Cantelli leads a refined and sensitive account. By contrast \n                  \u003ci\u003eTanzwalzer\u003c\/i\u003e represents Busoni in a lighter vein and Cantelli \n                  performs it with flair. \u003cbr\u003e\n                    \u003cbr\u003e\n                  This is yet another release of live performances that show us \n                  what an exceptional talent was Guido Cantelli. The attractions \n                  of this disc are increased by the general rarity on disc of \n                  some of the repertoire. Cantelli gets some excellent playing \n                  from the orchestra and this issue will be self-recommending \n                  to all admirers of this great though short-lived conductor. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eJohn Quinn\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC343.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eCantelli in superb form with the New York Philharmonic-Symphony\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e1954 broadcast concert recording from Carnegie Hall\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cp class=\"body\"\u003eThe recordings here stem from a number of sources collected by Keith Bennett and donated for transfer purposes to Pristine Audio for this release, for which we are most grateful. There is some slight variability in sound quality between the sources, but overall the sound is good, with perhaps the Strauss and Busoni surpassing that of the Cherubini. The final pitching of the recording was determined by careful analysis of residual 60Hz electrical hum and suggested the orchestra was playing very slightly sharper than standard concert pitch of A4=440Hz - I have elected to retain the actual pitch of the concert rather than \"correct\" it.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs Mr. Bennett's notes make clear, this was not the complete concert. The final work played on the day was Ravel's Boléro, and this appears on an Italian CD credited to this performance. A number of factors led us to the suspicion that this might not be a genuine recording from this concert - not least technically. It's pitch is considerably different to that of the rest of the concert when corrected to a 60Hz analysis, and also varies considerably by comparison to a good \"flat\" pitch recording of the rest of the concert, which suggests at the very least a different tape machine and, more than likely, a different concert.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, to ensure we were not missing out on a complete recording, Mr. Bennett contacted both the New York Philharmonic Orchestra and Carnegie Hall's archive department. Both were adamant that not only was the Ravel not broadcast, but that that part of the concert had not been recorded either in-house or off-air. We do not know, therefore, who is conducting and playing the purported Cantelli Boléro, nor when or where it was recorded. This release contains all that survives from the present concert.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCHERUBINI \u003c\/strong\u003eSymphony in D\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Tod und Verklärung\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBUSONI\u003c\/strong\u003e Berceuse élégiaque, Op. 42\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBUSONI\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Tanzwalzer, Op. 53\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded live 21 March 1954 Carnegie Hall, New York \u003cbr\u003eOriginal recordings from the collection of Keith Bennett\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eGuido Cantelli \u003c\/strong\u003econductor \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2012\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003eOriginal recordings from the collection of Keith Bennett \u003cbr\u003e\u003cbr\u003eTotal duration: 68:01\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC343.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC343.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eNotes by Keith Bennett\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe works for this programme is interesting. As far as the Cherubini symphony is concerned a more comprehensive  account is to be found on Pristine Audio PASC 319, a CD which also includes Strauss’s Tod und Verklärung  both being part of Cantelli’s 29th appearance with the NBC Symphony Orchestra on 27 December 1952. On this present CD the performance of the Cherubini is only fractionally quicker than the rendition given by the NBC Symphony Orchestra but there is a more substantial  difference for the Strauss - 22:21 here as opposed to 23:28 in the earlier performance. Incidentally, that 1952 performance is closer both to Strauss’s  and Toscanini’s interpretations.\u003cbr\u003e\u003cbr\u003eHowever, collectors will be more interested in having the two pieces by Busoni. The composer was profoundly affected by the death of his mother on 3 October 1909 and he returned to a little piece for piano entitled Berceuse which he had composed earlier in the year. He conceived the extended orchestral version which we know as Berceuse élégiaque and this was completed on 27 October 1909. For once in his life Busoni carried out the menial task of writing out the orchestral parts no doubt because he was very much aware that the work contained a number ‘singular harmonies and instrumental harmonies which have not yet been approved’ and it took a half hour rehearsal with the Queen’s Hall Orchestra (granted by Henry Wood) on 1 November 1909 for Busoni to be satisfied that what he had written and now had the opportunity of hearing was what he intended. The score is specific regarding the number of musicians required and rarely departs from Andantino calmo only rising to forte briefly in its 118 bars. Even if some commentators feel that the work is not significant in Busoni’s oeuvre, that is not what the composer himself felt about it explaining ‘I have succeeded for the first time in creating an individual sound and dissolving the form into feeling’: from the listeners standpoint the near static tempo, Andantino calmo, creates the numbness of grief.\u003cbr\u003e\u003cbr\u003eAlthough Oskar Fried ran through the work in 1910 with the Berliner Philharmoniker, it had to wait until 21 February 1911 for its first performance when Gustav Mahler included the work in 1911 for its first performance in a concert consisting of mainly of Italian music at his final concert in New York. The composer acknowledged the applause from a box: in that box was Arturo Toscanini and when Busoni wrote to his wife he mentioned that the Italian conductor had expressed great admiration for the piece. Toscanini gave six performances with the Philharmonic-Symphony Orchestra of New York between 1929 and 1932, but then there was a considerable gap until he gave a performance with the NBC Symphony Orchestra on 13 March 1948.\u003cbr\u003e\u003cbr\u003eCantelli recorded the work with the Orchestra Stabile dell’Accademia Nazionale di Santa Cecilia on 10 May 1949 and initially approved the recording for issue on 21 September. However, after he had taken the test pressings for Toscanini to hear he adamantly refused to countenance the release.  Was it just a coincidence that Toscanini conducted the piece again on 10 December 1949? \u003cbr\u003e\u003cbr\u003eCantelli was due to begin his second stint with the NBC Symphony Orchestra on 24 December and he could already have been in New York at the time of what was to be Maestro’s final performance of  the Berceuse élégiaque: perhaps Toscanini was showing his younger colleague just how it should be played. Interestingly, although the Berceuse élégiaque can be numbered as among Cantelli’s core repertoire (he gave 28 performances with twelve orchestras) it was not until 1951 that he programmed the work in the USA and never once did he include the work during his stints with the NBC Symphony Orchestra. The composer’s suggestion for a performance was approximately 10:00: of the two Toscanini performances (which were made available to the author by John Canniel) his slower was the 1949 rendition (8:15). On this CD Cantelli gives his quickest performance (7:54), but all the performances by Cantelli and Toscanini are respectful of the composer’s wishes in terms of dynamics.\u003cbr\u003e\u003cbr\u003eTanzwalzer, Op.33 \u003cbr\u003e\u003cbr\u003eWhereas, apart from 1950, Cantelli conducted at least two performances of  the Berceuse élégiaque every year from 1946 until 1954, he only gave  five performances of  Tanzwalzer. He first included the work in an Italian concert given in 1948 given in Italy, the second was in 1950 with the NBC Symphony Orchestra which has been issued in a box of four CDs (Testament SBT4 1317) and finally three more performances were given in 1954, and this CD preserves his very last performance.\u003cbr\u003e\u003cbr\u003eBusoni was an intensely serious musician but he needed to compose lighter works to keep his equilibrium. Such a work is Tanzwalzer for which he wrote the entire sketch on 19 September 1920 and completed the full score less than a fortnight later on 1 October. The composer provided a brief note for its first performance: ‘The Tanzwalzer was written originally in jest (and as a personal test of my own lighter talents) inspired by strains of a waltz issuing from inside a coffee-house, heard from walking in the street The work is dedicated to the memory of Johann Strauss, whom the composer sincerely admires’.\u003cbr\u003e\u003cbr\u003eWhether Cantelli ever perceived any music as a jest is open to speculation. As one would expect, Cantelli is generally respectful of the composer’s wishes (admittedly adding a crescendo at Figure 7 before asking the first violins to provide a ravishing ppp on the high E) and takes all the repeats. His performance (7:54) is some half a minute quicker than that of 1950 .\u003cbr\u003e\u003cbr\u003eA final comment is required to justify the exclusion of Ravel’s  Bolero which was the final item in the programme. As usual, the last concert in a group of performances was  broadcast, but it was a fairly common occurrence for the final item in a concert not to be transmitted. There existed a recording on the long-defunct AS disc (AS 547) which purported to be from the concert given on 19 March,  but despite numerous enquiries it has not proved possible (so far!) to establish incontrovertible evidence that the performance on AS 547 is indeed from 19 March or, even more unlikely, from 21 March. For that reason, the decision was taken not to use that recording on this CD.\u003cbr\u003e\u003cbr\u003eKeith Bennett © June 2012\u003cbr\u003e\u003cbr\u003eKeith Bennett is the author of Guido Cantelli – Just Eight Years of Fame (published 2009) which is only available from GC Publishers. \u003cbr\u003eFor further details either write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk IP12 4UL, UK or e-mail cpublishers@keithbennett.waitrose.com\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37145073997,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37145074061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37145074125,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37145074189,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC343_b1ab0b7f-a20f-4f76-9f23-3fea0ab724f6.jpg?v=1494339093"},{"product_id":"pasc343-cd","title":"CANTELLI conducts Cherubini, Richard Strauss, Busoni (1954) - PASC343 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478148237,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478148301,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC343_108d640c-8ff3-4c68-beda-7e9c8db24b08.jpg?v=1658308276"},{"product_id":"pasc208","title":"TOSCANINI conducts Prokofiev, Debussy, Saint-Saëns, R. Strauss (1950) - PASC208","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eImages: No. 2 - Ibéria\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSAINT-SAËNS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Danse Macabre \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Juan\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live, 25th March, 1950\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:53 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC208.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eOne of the great Toscanini broadcast concerts of the 1950s\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eIssued for the first time - a real treat for all music-lovers, in superb sound\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis concert recording was sent to me earlier in the year, but it was only very recently that I got around to listening to it properly for the first time - and was immediately blown away by it. In particular, Toscanini's reading of the \u003cem\u003eClassical Symphony\u003c\/em\u003e by Prokofiev came as a revelation to me. It's not a work I have in any other Toscanini reading, but if this live performance is anything to go by it's something I need to investigate immediately!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBut perhaps this recording will suffice. Throughout the concert both conductor and orchestra are on top form, and I've rarely heard Studio 8H sounding as fabulous as it does here. The source recording was fine, if a little boxy and shrill at times, but XR remastering has done more than just cure these - it's really opened out the whole sound of the orchestra, something further enhanced by the Ambient Stereo processing available should you choose these options on CD or FLAC download orders. I'd certainly recommend it!\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003col\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003eIntroduction to concert \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(0:17) - Announcer: Ben Grauer\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePROKOFIEV\u003c\/strong\u003e Symphony No. 1 \"Classical\" in D, Op. 25\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e1st mvt. - \u003cem\u003eAllegro\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (3:37)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e 2nd mvt. - \u003cem\u003eLarghetto\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (3:52)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e 3rd mvt. - \u003cem\u003eGavotte\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (1:34)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e4th mvt. - \u003cem\u003eMolto vivace\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (4:50)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e Images: No. 2 - Ibéria\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e1st mvt. - \u003cem\u003ePar les rues et par les chemins\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (7:05)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e2nd mvt. - \u003cem\u003eLes parfums de la nuit\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (6:34)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e3rd mvt. - \u003cem\u003eLe matin d'un jour de fête\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (4:50)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSaint-Saëns\u003c\/strong\u003e Danse macabre in G minor, Op.40\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (7:33)\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e Don Juan, Op. 20\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (17:41)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eThe NBC Symphony Orchestra\u003cbr\u003e conductor Arturo Toscanini\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eBroadcast from Studio 8H, 25th March 1950\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, December 2009\u003cbr\u003e Cover artwork based on a photograph of Toscanini during his summer tour of 1950\u003cbr\u003e\nTotal duration: 57:53 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC208.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC208.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":34452129805,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452129869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452129933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452130061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC208_0612cc78-4fa2-46ac-8192-30c673501d36.jpg?v=1490032335"},{"product_id":"pasc208-cd","title":"TOSCANINI conducts Prokofiev, Debussy, Saint-Saëns, R. Strauss (1950) - PASC208 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork","offer_id":34428353869,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve","offer_id":34428353933,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC208_8dfe7a0c-667c-4591-9d70-69f25863516f.jpg?v=1658243825"},{"product_id":"pasc225","title":"KARAJAN in New York Vol. 3: R. Strauss - Ein Heldenleben (1958) - PASC225","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ein Heldenleben\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1958, New York\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 47:16 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJohn Corigliano Sr., \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert von Karajan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC225.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eHerbert von Karajan conducts the New York Philharmonic!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eConcluding volume of three chronicling his only appearances with the orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003e\"\u003cstrong\u003eHerbert von Karajan\u003c\/strong\u003e (5 April 1908 – 16\n July 1989) was an Austrian orchestra and opera conductor. His obituary \nin The New York Times described him as \"probably the world's best-known \nconductor and one of the most powerful figures in classical music\". \nKarajan conducted the Berlin Philharmonic orchestra for 35 years. He is \nthe top-selling classical music recording artist of all time, having \nsold an estimated 200 million records during his career.\"\u003c\/i\u003e - \u003cem\u003eWikipedia\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eDespite his lengthy and varied career, Karajan was \npredominantly a Europe-based conductor and rarely conducted American \norchestras - in 169 concerts in the USA he conducted only three \norchestras: the Los Angeles Philharmonic once (1959), the Metropolitan \nOpera Orchestra fifteen times (1967-69), and the New York Philharmonic \neight times in November, 1958. His only other engagements with an \nAmerican orchestra were two concerts with the Cleveland Orchestra in \nSalzburg and Lucerne during August 1967.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe New York Philharmonic concerts were split into two \ngroups of four: The first concerts, of 13-16 November 1958, consisted of\n three works: Webern's \u003cem\u003eFive Pieces for String Orchestra\u003c\/em\u003e, Mozart's\u003cem\u003e \"Jupiter\" Symphony, No. 41\u003c\/em\u003e, and Richard Strauss's \u003cem\u003eEin Heldenleben\u003c\/em\u003e. A week later, between 20th and 23rd November, Karajan played an all-Beethoven programme, beginning with the \u003cem\u003eFirst Symphony\u003c\/em\u003e and ending with the \u003cem\u003eNinth\u003c\/em\u003e - in the case of the\u003cem\u003e Ninth \"Choral\" Symphony\u003c\/em\u003e these\n constituted four of ten performances the conductor gave of this work in\n 1958 alone - three with the Berlin and three with the Vienna \nPhilharmonics complete the total.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eTransfer notes\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth groups of four New York Philharmonic concerts \nreceived a radio broadcast - in each case it was the third of the four \nconcerts, held on Saturday evenings, which was transmitted on the CBS \nradio network. At the present time the only surviving recordings of \nthese concerts appear to have been taken from AM broadcasts. Although \nthe quality, both of the recordings and the transmissions themselves is \nvery good, they are inevitably diminished by the limited bandwidth and \ndynamic range of this broadcast medium.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eAs a result there is no recorded signal above \nabout 6kHz, and at times some of the very loudest passages sound \nsomewhat compressed in volume. However, with such obvious interest in \nthese rare recordings, made by such top rank musicians, it was clear \nthat they could not be ignored, and we were delighted to be sent \nexcellent source copies by an American collector. Restoration has \nrevolved around minimising hiss, dealing with very occasional light \ndrop-out, the odd click and crackle, and one short instance of line \nwhistle. Thereafter the XR remastering process has been used in order to\n ty and extract the very best sound quality possible from this \ncompromised source material. Although the results would be considered \nfine for a recording of earlier years it's clearly not up to the \nstandards one normally expects of 1958 technology, hence the designation\n \"Special Interest\" for this release.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eP.S. On Sound Quality: \u003c\/strong\u003eFollowing \nthe release of the first volume in this series I received the following \nin an e-mail from a regular contributor: \"Why are you releasing these as\n \"SI\", though?  The sound is not \u003cem\u003ethat\u003c\/em\u003e bad -- decent AM radio quality\". He's right - in many respects the sound quality \u003cem\u003eis\u003c\/em\u003e\n excellent, with very low levels of background noise, an excellent \nsignal, and a very clear recording. Certainly the recordings make for an\n enjoyable listening experience. But I do think that it would be easy to\n miss the small print pointing out that this is an AM radio broadcast \nand assume full-frequency 1958-quality sound if we \u003cem\u003edidn't\u003c\/em\u003e \nhighlight the fact prominently, something which might not suit some \npurchasers. The idea of SI releases is to encourage listening and \nreading prior to purchase!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eWriting in \u003ca href=\"http:\/\/www.gramophone.co.uk\/blog\/classical-downloading\/karajan-in-new-york-a-trio-of-downloadable-concert-relays\" target=\"_blank\"\u003ehis blog at Gramophone\u003c\/a\u003e, editor-in-chief James Jolly noted (with reference to the first volume of these recordings: \"\u003cem\u003eThe\n sound is fine, though for a 1958 recording could sound a load better – \nthe recordings were made from an AM radio broadcast. But I found that I \nsoon attuned to the slightly cramped sound (Pristine label it \"SI\" for \nSpecial Interest: maybe they’re being slightly cautious): only the \nopening of the finale is a bit of a mess aurally.\u003c\/em\u003e\"\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e Ein Heldenleben, Op. 40\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eConcert broadcast from Carnegie Hall, 15th November, 1958\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e Played by \u003cb\u003eNew York Philharmonic Orchestra\u003cbr\u003eJohn Corigliano, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eHerbert von Karajan\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eConcert broadcasts from Carnegie Hall, 15th November, 1958\u003cbr\u003e Originally broadcast by CBS Radio, announcer Jim Fassett\u003cbr\u003e Recording designated \"Special Interest\" due to limited frequency range indicative of AM broadcast\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, May 2010\u003cbr\u003e Cover artwork based on a photograph of Herbert von Karajan\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 47:16 \u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC225.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC225.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 16-bit FLAC","offer_id":34445418509,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34445418573,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34445418765,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC225_4e35f8a0-3e46-4012-aa08-40adecc99706.jpg?v=1490026972"},{"product_id":"pasc225-cd","title":"KARAJAN in New York Vol. 3: R. Strauss - Ein Heldenleben (1958) - PASC225 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478201229,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478201293,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC225_76953966-709c-4000-88cf-28931b0d4cc9.jpg?v=1658244401"},{"product_id":"pasc227","title":"KARAJAN in Hollywood (1959) - PASC227","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTAFFORD SMITH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Star Spangled Banner\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger von Nürnberg - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eIVES \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Unanswered Question\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 35 'Haffner'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ein Heldenleben\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1959, Hollywood\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:29 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLos Angeles Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert von Karajan\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC227.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eKarajan's only ever appearance with the LA Philharmonic\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFeaturing his only ever performance of music by Charles Ives\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eHerbert von Karajan opened the LA Philharmonic's 38th Season with this concert at the Hollywood Bowl on 2nd July, 1959. It was the only time he ever conducted the orchestra, and one of only a very small handful of concerts where Karajan conducted an American orchestra.\n\u003cp class=\"body\"\u003eAdding further to its rarity is the fact that this is the only known performance by Karajan of one of Charles Ives' best known works, The Unanswered Question - indeed, there is no record of Karajan having ever conducted anything else by the composer. It is also interesting to note that no performances of the American national anthem, The Star Spangled Banner, appear in Karajan's official discography and concert performance listings - though the fact that the present performance is also omitted means we cannot be sure that this was the only time he conducted it.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003eTransfer notes\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA few days after the release by Pristine Audio of the third of three volumes of \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc222\"\u003eKarajan in New York\u003c\/a\u003e I was contacted and offered a copy of the present recording for restoration and release by a collector who prefers to remain anonymous. (It should be stated here that this is not unusual - friends and collectors tend to quietly circulate recordings like this between each other, and often may not wish to upset the person who originally offered them their copy when it appears commercially!)\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recording was rather hissy and the sound quality somewhat strident in the mid-range and lacking in bass. Although copies are now easily made using digital media, it's almost certain that this originated on tape, and may of course not be a first-generation copy. As a result I carried out channel phase correction before combining left and right channels back to the original mono (the concert was broadcast in mono and stereo, but we currently have no access to any stereo recording).\u003c\/p\u003e\n\u003cp class=\"body\"\u003eXR remastering helped to correct some of those tonal flaws and greatly improve the overall sound quality. I had to contend with a number of aeroplanes - this was after all an outdoor concert - the echoes of which may still occasionally be audible, and there was a short and slight treble reduction during the Wagner, which remains. Overall, however, the sound quality is pretty well retained, with a decent frequency and dynamic range, if not quite the full clarity one might hope for in an FM radio broadcast.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe original recording I was sent ran to some three minutes over the available space on a CD. Fortunately the tightening of some gaps, editing of the announcer's speech and some lengthy applause allowed me to fit the entire performance onto a single disc - so don't be alarmed at the speed with which the conductor seems to leave and reappear on the stage during applause at the end of a performance!\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTAFFORD SMITH\u003c\/b\u003e The Star Spangled Banner\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003eDie Meistersinger von Nürnberg - Overture \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eIVES \u003c\/b\u003eThe Unanswered Question\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 35 'Haffner' in D, K385\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Ein Heldenleben, Op. 40 \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003eDavid Frisina,\u003c\/b\u003e Violin \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eLos Angeles Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eLive radio broadcast from Hollywood Bowl, 2nd July, 1959\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTransfers of radio broadcast provided by a private collector\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2010\u003cbr\u003eCover artwork based on a photograph of Karajan rehearsing for this concert\u003cbr\u003e\u003cbr\u003eTotal duration: 79:29 \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC227.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC227.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":34452550861,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452550925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":39348311719997,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC227_152ad34c-cc83-46c5-a1c4-6e8b9c0a75fd.jpg?v=1624886949"},{"product_id":"pasc227-cd","title":"KARAJAN in Hollywood (1959) - PASC227 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478201869,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478202637,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC227_c67125c1-f953-4a10-b4e3-004b37bf1d38.jpg?v=1658244438"},{"product_id":"pasc287","title":"MENGELBERG Beethoven: Symphony No. 3 \u0026 R. Strauss: Don Juan (1940)- PASC287","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e'Eroica'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Juan\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 62:41 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Concertgebouw Orchestra of Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem Mengelberg\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you have any affection for great historic performances, this disc is an indispensable acquisition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith this release Andrew Rose of Pristine Audio \nfinishes his reissue of Mengelberg’s cycle of the Beethoven symphonies. \n(For those who favor downloads rather than buying CDs, the entire cycle \nis now available from pristineclassical.com at a reduced price for the \ncomplete set.) As usual—there has been the rare exception, an “XR \nstereo” version of Toscanini’s 1947 performance of Verdi’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Otello\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that made the voices well-nigh unrecognizable—Rose triumphs with a \nremastering from near-mint Philips LPs that easily surpasses all \nprevious versions for sonic breadth, depth, and clarity. In this case \npart of the material was particularly intractable; as Mengelberg \ncollectors know, the surviving broadcast performance from November 11, \n1940, of the “Eroica” suffers from such bad distortion that Philips (and\n virtually everyone else) uses this 1940 Telefunken studio recording \ninstead to fill in the cycle despite the decidedly flat, dry acoustic of\n the 78s. Even with the result that Rose achieves here, I personally \nthink that the discreet addition of some extra reverberation for warmth \nwould have improved the sound still further; as it is, listening to it \ncontinuously still remains somewhat aurally fatiguing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAural fatigue is not a term that applies to the \ninterpretation, however. In his reviews of previous CD issues of this \nperformance, James H. North, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n resident Mengelberg authority, seems to have shifted his estimation of \nit considerably over the years. Back in 1994 (17: 6) he opined that it \n“is as flaky a performance as the Dutch conductor ever gave. In three of\n the four movements, tempos vary wildly from much too fast to rather \nslow. The Scherzo and Trio have no repeats and some absurdly fast \ntempos.” But in 2000 (23:5) he wrote, “This studio recording has \nimagination, superb playing, and fine sound. Tempos are generally faster\n than in 1930; the very rapid finale suffers some loss of coherence. \nThere are many cases of the rhythmic adjustments that are part and \nparcel of this conductor’s essence.” I agree with his later rather than \nearlier opinion, save that I find no loss of coherence in the finale. \nThis performance of the “Eroica” will startle those unfamiliar with it, \nbut familiar with Mengelberg’s reputation as a hyper-Romantic conductor.\n It is taut, lean, swift, and electric, in the mode of Toscanini and \nWeingartner—the timings of the four movements are 14:22, 15:56, 4:01, \nand 11:14—and the trademark fluctuations in tempi and use of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003erubato\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are fewer and more subtle and economical than one often encounters from\n this flying Dutchman. Given that my favorite “Eroica” at present is the\n 1952 RIAS broadcast with Furtwängler and the Berlin Philharmonic (with \nmovement timings of 16: 37, 18:55, 6:37, and 12:57), I was surprised at \njust how taken I was with this antipodal interpretation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is another matter. The oft-refurbished and fabled 1938 Telefunken \nstudio recording has received multiple encomiums in these pages from \nNorth (21:6 and 23:5), William Zagorski (27:5), and Mortimer H. Frank \n(24:2, Want List for 2000). Here we have instead the live performance \nfrom a month after the studio “Eroica” recording. North believes the \nstudio recording to be the superior version; it may be Rose’s auditory \nsorcery at work (and let’s hope he remasters the 1938 performance as \nwell), but for me this 1940 performance is easily superior. The sound is\n far warmer and more natural—the Telefunken 78s here still suffer from a\n certain dry deadness, if not to the same degree as in the “Eroica” \nrecording—and instrumental details of solo instruments such as the \nglockenspiel and harp are astonishingly vivid. In the 1938 recording the\n solo violin sounds a bit wiry at its first entrance, with intonation \nnot quite centered, here in 1940 it is incredibly lush, suave, and \nseductive. I also find this performance to have a more continuous \nlyrical flow than its studio predecessor.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSo, as Emperor Joseph II is made to say repeatedly to Mozart in Peter Shaffer’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAmadeus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n “Well, there it is.” If you have any affection for great historic \nperformances, this disc is an indispensable acquisition, and no more \nneed be said. \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 A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC287.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eMengelberg superb 1940 studio 'Eroica' sounding fabulous\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoupled with his live Don Juan from the same year\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe recording here has often been used to \"complete\" Mengelberg's 1940 Beethoven cycle, which otherwise consists of recordings made by Dutch radio from live concert broadcasts - the source of the recording here of Don Juan.\u003c\/p\u003e\n\u003cp\u003eHowever, this recording of the Eroica Symphony was actually made as a studio recording and issued on German Telefunken 78s, and as such I've distanced it slightly from our series of 1940 live Beethoven recordings. Although the sound quality is excellent for 78s of this era, especially following XR remastering, it lacks the clarity, a product of a particularly wide frequency and dynamic range, achieved on the glass acetates used by AVRO's radio engineers when preserving their broadcasts.\u003c\/p\u003e\n\u003cp\u003eThe Beethoven discs showed large differences in both high treble and background noise between the starts and ends of each side, and much work was required to try to retain as much of the former whilst reducing as much of the latter and providing smooth side changes. By contrast the Strauss was a much more straightforward affair, with the main task being reduction of swish.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 3 in E flat, Op. 55 \"Eroica\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11th November, 1940\u003cbr\u003eIssued as Telefunken 78s, SK 3117-22\u003cbr\u003eMatrix Nos. CB 025350-61\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS \u003c\/strong\u003eDon Juan, Op. 20 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded live at Royal Concertgebouw, Amsterdam, 12th December, 1940\u003cbr\u003eTransfer from Philips LP W 09908 L \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eRoyal Concertgebouw Orchestra of Amsterdam\u003cbr\u003eWillem Mengelberg \u003c\/strong\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 62:41 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC287.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC287.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":34587342157,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34587342221,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34587342285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34587342349,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC287.jpg?v=1490183179"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Strauss.png?v=1496245077","url":"https:\/\/www.pristineclassical.com\/collections\/composer-strauss-r.oembed?page=11","provider":"Pristine Classical","version":"1.0","type":"link"}