{"title":"Stravinsky","description":"Igor Fyodorovich Stravinsky (sometimes spelled Strawinski, Strawinsky, or Stravinskii; Russian: И́горь Фёдорович Страви́нский, tr. Igorʹ Fëdorovič Stravinskij; 17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian-born composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century.\u003cbr\u003e\u003cbr\u003eStravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Serge Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911) and the Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His \"Russian phase\" which continued with works such as Renard, the Soldier's Tale and Les Noces, was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue and symphony), drawing on earlier styles, especially from the 18th century. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, and of instrumentation.","products":[{"product_id":"pasc306","title":"American 78rpm Rarities - Genesis Suite, PISTON Symphony No. 2 (1944-46) - PASC306","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;\"\u003eVARIOUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eGenesis Suite\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePISTON\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1945\/6 \u0026amp; 1944\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;\"\u003eTotal duration: 75:32\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEdward Arnold, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003enarrator\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJanssen Symphony of Los Angeles\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWerner Janssen, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eG. Wallace Woodworth, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine and their collaborators have delivered a virile and vivacious result578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eMore unthinkably esoteric material from Pristine; this time from mid-1940s USA. \u003cbr\u003e   \u003cbr\u003e The highly-coloured \u003cb\u003e\u003ci\u003eGenesis Suite\u003c\/i\u003e\u003c\/b\u003e\n was the product of music entrepreneur and composer-conductor Nathaniel \nShilkret. It’s a luxury composite - a series of choral and orchestral \nmusical panels. The Hollywood golden age East Coast complacent narration\n weaves in and out of the music. This high-flown Heston-style staginess \nworks well and it’s very agreeable. You need to leave your cynicism at \nthe hat-check. \u003cbr\u003e   \u003cbr\u003e The movements and their composers are:- \u003cbr\u003e   \u003cbr\u003e 1. Creation (Nathaniel Shilkret) [9:36] \u003cbr\u003e 2. Adam and Eve (Alexandre Tansman) [10:06] \u003cbr\u003e 3. Cain and Abel (Darius Milhaud) [5:10] \u003cbr\u003e 4. Noah's Ark (Mario Castelnuovo-Tedesco) [10:20] \u003cbr\u003e 5. The Covenant (Ernst Toch) [5:12] \u003cbr\u003e 6. Babel (Igor Stravinsky) [5:23] \u003cbr\u003e 7. Postlude (Arnold Schoenberg) [5:44] \u003cbr\u003e   \u003cbr\u003e The \u003cb\u003eShilkret\u003c\/b\u003e \u003ci\u003eCreation\u003c\/i\u003e is glowingly and glaringly scored in the film industry’s most extravagant style. \u003cb\u003eTansman\u003c\/b\u003e - entrusted with the story of \u003ci\u003eAdam and Eve\u003c\/i\u003e - is largely in the same region with writing that touches on Ravel at his most \u003ci\u003eDaphne\u003c\/i\u003e verdant. \u003ci\u003eCain and Abel\u003c\/i\u003e is a shorter movement from \u003cb\u003eMilhaud\u003c\/b\u003e - silver screen dusted but rustically reminiscent of his orchestral suites. \u003ci\u003eNoah's Ark\u003c\/i\u003e is the work of \u003cb\u003eCastelnuovo-Tedesco\u003c\/b\u003e\n whose concert idiom was a mete choice for this suite - he suited \nShilkret’s project like a gold lamé glove. His Violin Concerto No. 2 \nrecorded by \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/May11\/Walton_Heifetz_8111367.htm\"\u003eHeifetz\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2007\/Oct07\/Perlman_7542962.htm\"\u003ePerlman\u003c\/a\u003e is entitled \u003ci\u003eThe Prophets\u003c\/i\u003e. The contented \u003ci\u003eCovenant\u003c\/i\u003e panel is by \u003cb\u003eToch\u003c\/b\u003e\n and is as short a movement as that by Milhaud. In this land there are \nas yet none of the troublous thoughts encountered by Job. It ends in a \nmagnificence of fanfares. \u003ci\u003eBabel\u003c\/i\u003e is by \u003cb\u003eStravinsky\u003c\/b\u003e. Not only can you hear the whole suite on the Naxos\/Gerard Schwarz reconstruction of the \u003ci\u003eGenesis Suite\u003c\/i\u003e. It is also included in the \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2008\/Aug08\/Stravinsky_box_88697103112.htm\"\u003emajor box of Sony’s complete works\u003c\/a\u003e\n with the narrator there being John Colicos. Unsurprisingly there is \nmore tension, punchiness and angularity in this writing. There’s more of\n that to come in \u003cb\u003eSchoenberg\u003c\/b\u003e’s concluding \u003ci\u003ePostlude\u003c\/i\u003e. Shilkret clearly knew no fear when choosing such uncompromising figures for the commission. \u003cbr\u003e   \u003cbr\u003e\n The original discs are in a distressed state but Pristine and their \ncollaborators have delivered a virile and vivacious result though not \nwithout fragility and some spalling still in evidence. The scoring is \ncinematically opulent but can be heard in modern sound on a \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Nov04\/Genesis_suite.htm\"\u003eNaxos\u003c\/a\u003e Milken Archive disc. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003eWalter Piston's Second Symphony\u003c\/b\u003e\n was written in 1943 and was premiered on 5 March 1944 by the National \nSymphony Orchestra conducted by Hans Kindler. The reading presented here\n for the first time on CD is its second performance recorded under the \nauspices of the US Office of War Information. The Piston Second is one \nof his most endearing and moving works. The style is temperate and full \nof the noble life of the great outdoors. Its euphoric confidence I link \nwith that also found in another American Second Symphony - the one by \nRandall Thompson (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/nov98\/smk60594.html\"\u003eSony\u003c\/a\u003e - Bernstein; \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Feb04\/Randall_Thompson.htm\"\u003eKoch\u003c\/a\u003e - Schenck). The dynamic winged flight of Tippett’s \u003ci\u003eConcerto for Double String Orchestra\u003c\/i\u003e sometimes also comes to mind. In the big soulful second movement we might also think of Barber’s \u003ci\u003eAdagio\u003c\/i\u003e.\n The finale is explosive, adrenaline-fuelled and foot-tappingly kinetic.\n I have loved this work since hearing the version - again played by the \nBoston Symphony Orchestra in 1970 - conducted by Michael Tilson Thomas \n(DG: LP 2530 103; CD: 429 860-2). I am not sure that MTT has been topped\n not even by Gerard Schwarz (Delos DE3074 and then \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Jan04\/Piston26_LN.htm\"\u003eNaxos\u003c\/a\u003e).\n The sound, rescued from a battered set of vinyl 78s, is a bit crumbly \nbut enthusiasts will want to hear this rare and rewarding item. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003ci\u003eRob Barnett \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC306.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eTwo incredibly rare US 78rpm recordings featuring music by Schoenberg, Stravinsky, Milhaud, Piston and more\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"More\n unthinkably esoteric material from Pristine; this time from mid-1940s \nUSA - Pristine and their collaborators have delivered a virile and \nvivacious result\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eThe two works presented here were both conceived and \nwritten at around the same time in the USA. Walter Piston's Second \nSymphony was written in 1943 and received its first performance on 5th \nMarch 1944. The present recording is the symphony's second performance, \nwhich took place about a month later and was preserved by the US Office \nof War Information for distribution to its Overseas Branch on vinyl \n78rpm discs, which would have been broadcast to forces serving during \nWorld War II. Vinyl was still in its infancy, quality-wise, but was \npreferred for its lightness and unbreakability by comparison to shellac \n78s. The discs themselves were \"to be destroyed at the termination of \nthe emergency\", yet a rare set survives from which I have taken the \npresent transcription. A great deal of work has been necessary to \novercome surface noise and distortion, so although the tone is full and \nthe performance enjoyable, the listener will have to allow at times for \nthe shortcomings of the original media. That said, given the sound heard\n on the discs themselves during initial transfer, it is astonishing what\n modern restoration technology has permitted me to achieve.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Genesis Suite was conceived in 1943 and written by \nits various composers between 1943 and 1945. It is known to have \nreceived two live performances, and the present recording was made \nshortly after the première. The project was overseen by its creator, \ncomposer Nathaniel Shilkret, who had planned to sell the completed \nrecording to one of the major record companies. Unfortunately these \ncompanies failed to show interest in the project, and Shilkret went into\n partnership with some businessmen associates to create \"Artist \nRecords\", who pressed and issued the recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIts success was limited, to say the least, and financial\n irregularities and a falling out caused Artist Records to be wound up, \nsales halted and remaining stock to be destroyed, leaving the very few \nexisting sets of this release as among the rarest commercially issued \n78rpm album sets in the USA. Thereafter the orchestral recording, which \nhad been recorded separately from the narration, was issued with a new \nnarrator on a Capitol LP, copies of which are also rare enough to fetch \nthree-figure sums today. By all accounts the new narrator was no Edward \nArnold! The Genesis Suite quickly fell into neglect.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA resurrection of the piece took place early in the 21st\n century with a recording issued by Naxos of a reconstructed version of \nthe piece, following evidence that most of the parts had been destroyed \nby fire. It now appears that original copies do still exist in the \nShilkret archive, as prepared by Shilkret, as is the original score as \nsubmitted by Castelnuevo-Tedesco in 1944. The work has also received a \nfurther live performance, which took place in 2008.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn its original form, the work opened with Schoenberg's \n\"Prelude\" movement, but fearing a hostile response to the music's \nperceived difficulty and modernity, Shilkret repositioned it on the \nfinal disc (alongside the other \"difficult\" composer, Stravinsky\") and \nretitled it \"Postlude\" for the Artist Records release. He also \napparently felt his own \"Creation\" movement, which now took first place,\n was far preferred by audiences (even though at this stage it had only \nhad one performance!) - Shilkret's letters suggest he was not a man \novercome by modesty. I have elected to retain the running order and \ntitling as presented on the Artist Records 78s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe discs themselves are not perhaps the finest \npressings in the history of shellac. Many of the openings presented \ndifficulties in replay which may still be heard, together with high \ninitial surface noise, making side joins particularly tricky. Thereafter\n in general the sides were fine. The aural tone of Edward Arnold's \nnarration changes significantly between works, and this has been \nretained.. XR remastering has helped to enhance and fill the orchestral \ntone, which retains a distinctly 1940s Hollywood flavour, especially in \nsome of the more filmic movements.\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\u003cbr\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eVARIOUS \u003c\/b\u003eGenesis Suite (1943-5) \u003cem class=\"body\"\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 11 December 1945, narration recorded circa June 1946. \u003cbr\u003eTransfers from Artst Records set JS 10, 1101-1110\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eNarrator\u003c\/b\u003e Edward Arnold\u003cbr\u003e\u003cb\u003eChorus director\u003c\/b\u003e Hugo Strelitzer\u003cbr\u003e\u003cb\u003eJanssen Symphony of Los Angeles\u003c\/b\u003e Werner Janssen\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e1. Creation\u003c\/b\u003e (Nathaniel \u003cb\u003eShilkret\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(9:36)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e2. Adam and Eve\u003c\/b\u003e (Alexandre \u003cb\u003eTansman\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(10:06)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e3. Cain and Abel \u003c\/b\u003e(Darius \u003cb\u003eMilhaud\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:10)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e4. Noah's Ark \u003c\/b\u003e(Mario \u003cb\u003eCastenuovo-Tedesco\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(9:42)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e [NB. See Below]\u003cbr\u003e\u003cb\u003e5. The Covenant\u003c\/b\u003e (Ernst \u003cb\u003eToch\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:12)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e6. Babel\u003c\/b\u003e (Igor \u003cb\u003eStravinsky\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:23)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e7. Postlude\u003c\/b\u003e (Arnold \u003cb\u003eSchoenberg\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:44)\u003cbr\u003e\u003cbr\u003e\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\u003ePISTON\u003c\/b\u003e Symphony No. 2 (1943)\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded live, Symphony Hall Boston, 8 April 1944\u003cbr\u003eTransfers from Office of War Information vinyl 78s \"Contemporary American Series No. 34\"\u003cbr\u003eDisc numbers 1009-1 - 1009-4\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003eBoston Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eG. Wallace Woodworth\u003c\/b\u003e conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, September 2011\u003cbr\u003eFront cover artwork detail from Artist Records 78rpm cover (uncredited)\u003cbr\u003ePristine Audio is grateful to Al Schlachtmeyer for the generous donation of these discs \u003cbr\u003eTotal duration: 75:32\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\/PASC306.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC306.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\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eOriginal Sleevenotes\u003c\/b\u003e (Artist Records 78s)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003eThe\n massive concept of setting to music the first chapter of the Bible \noccurred to Nathaniel Shilkret, Composer and Conductor, after a survey \nof public opinion made while he was manager of the Victor Recording Co. \nHe decided that so tremendous a project should be shared by leading \ncontemporary creators and carefully selected and commissioned composers \nhe considered best fitted to expound the various subjects.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\"My colleagues,\" Shilkret declared, \"have \napproached their task in a spirit of the most profound reverence. Their \ndevotion is apparent in the music they have created.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe separate movements have been composed in \ncomplete independence, the composers each proceeding with their \nindividual portion without reference to or knowledge of each other's \nwork. The sole connecting link is the narrator, Edward Arnold, who \ndelivers the Biblical story.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eA detailed analysis of the individual movements \nis impossible because of space restrictions, since elucidation of their \nintricacies would involve a wealth of detail. Each is partly \ndescriptive, partly psychological, yet each illustrates its portion of \nthe spoken narrative, and is therefore easy to follow.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e1. Creation\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eNathaniel Shilkret \u003cbr\u003e(Born New York City, January 1, 1895) \u003cbr\u003e\u003c\/em\u003eThis\n episode is divided into two distinct parts, the first treating of the \ninitial aspects of the Bible story, the second beginning with the words,\n \"Let there be light.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e2. Adam and Eve\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eAlexandre Tansman \u003cbr\u003e(Born Lodz, Poland,June 12, 1897) \u003cbr\u003e\u003c\/em\u003eThe\n tale of the Garden of Eden is expounded. The approach of the composer \nto the conception of this chapter of the Genesis is rather atmospheric \nthan descriptive. He tried to express the mood of each particular part \nof the text through lyrical means of expression and by solely musical \nwork. The work could be formally considered as a Suite with a series of \nfast and slow movements, framed by a slow Introduction and a robust \nCoda.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e3. Cain and Abel\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eDarius Milhaud \u003cbr\u003e(Born Aix-en-Provence, France, September 4, 1892) \u003cbr\u003e\u003c\/em\u003eThe story of discord andviolence is deftly underlined in music.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e4. Noah's Ark\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eMario Castelnuovo-Tedesco \u003cbr\u003e(Born Florence, Italy, April 3, 1895) \u003cbr\u003e\u003c\/em\u003eThe\n first of this episode's two portions illustrates events leading to the \nFlood; the second portion tells of the Flood and its subsidence.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e5. The Covanent\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eErnst Toch \u003cbr\u003e(Born Vienna, Austria, December 7, 1887) \u003cbr\u003e\u003c\/em\u003eThe story of Noah's debarking, and of the covenant that no further flood should occur.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e6. Babel\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eIgor Stravinsky \u003cbr\u003e(Born Oranienbaum, Russia,June 5,1882) \u003cbr\u003e\u003c\/em\u003eThe\n concluding movement of the work tells of the confusion brought about by\n various languages. The music is in cantata form, with a \"Greek chorus\" \nsupporting narrator and orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e7. Postlude\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eArnold Schoenberg \u003cbr\u003e(Born Vienna, Austria, September 13, 1874) \u003cbr\u003e\u003c\/em\u003eThis deals instrumentally with the opening words of the Bible, impressively establishing a devotional mood.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003eAbout My Babel Cantata\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eBy Igor Stravinsky, Hollywood, California, November 5, 1945 \u003cbr\u003e\u003c\/em\u003e\"For\n those who are not very familiar with my compositions, knowing my name \nonly by the reputation of my earlier works such as the Firebird, \nPetrouchka or the Rite of Spring, my Babel-a Cantata for Chorus with \nOrchestra and a Narrator—will present itself probably as a casual, an \nisolated work which has little to do with my previous compositions, with\n my actual features as a composer. This feature presents itself in an \nentirely different aspect to those who know my musical mind and my \nsymphonic work, especially such as the Symphony of Psalms, the Melodrama\n Persephone or the Opera-Oratorio Oedipus-Rex, to mention only these \ncapital compositions of my catalogue, compositions never played in Los \nAngeles. Yet the acquaintance with but these compositions could easily \nexplain my bent toward musical forms cultivated by the best musical \nbrains of all times. Therefore the approaching performance of my Cantata\n among other compositions of the Bible collected of Mr. Nathaniel \nShilkret by the brilliant company of Werner Janssen Symphony seems to me\n most opportune and I welcome it.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003eArtist Records\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eSee also: https:\/\/en.wikipedia.org\/wiki\/Genesis_Suite\u003c\/li\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":37145294029,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37145294093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37145294157,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37145294221,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC306.jpg?v=1494339495"},{"product_id":"pasc304","title":"COATES conducts Rimsky, Mussorgsky, Borodin \u0026 Stravinsky (1926-30) - PASC304","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Petrushka Ballet\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBORODIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prince Igor - excerpts\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e May Night - Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMUSSORGSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eElectric HMV recordings 1926-30\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:15\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHmm! Stravinsky! Now we're in for something weird!578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePetrushka (1930):\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"...Of\n Stravinsky on her programme, \" Hmm ! Stravinsky ! Now we're in for \nsomething weird ! \" What we actually were in for was the Berceuse and \nFinale of The Fire Bird, which, had the printer of the programme \nerroneously attributed to the pen of Rimsky-Korsakov, the good lady \nwould assuredly have applauded as vehemently as she did Scheherazacle at\n the same concert. So much for the average Briton's attitude towards \nmusical progress. Yet why should early Stravinsky still be imagined by \nso many to be so revolutionary and incomprehensible 7 The Fire Bird was \nwritten in 1910— surely nineteen years is sufficient time even for an \naverage British concert-goer to assimilate its idiom. The answer must \nlie in the fact that ever since Petrouchka Stravinsky has been such an \nexperimentalist, and his idiom has been so elusive, that his reputation \nis better known than his music, and so our conservative concert-goers \nget afraid, and refuse to become conversant with any form of music later\n than Wagner. To these I would say : \"Ladies and Gentlemen, go to your \ngramophone dealer and listen to a few records of contemporary music ; it\n will cost you nothing, and you will gain the knowledge that there is \nnothing at all offensive in such works as The Fire Bird, nothing in fact\n that is incompatible with the traditions of Rimsky-Korsakov, Borodin \nand others ; then you will go to the concert hall and hear with \nunprejudiced ears the same works, and will enjoy them.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e... \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003eIn\n 1911 appeared Petrouchka, which is still regarded by many as \nStravinsky's masterpiece, though none can maintain that he ceased \ndeveloping at this date. Certainly his later works are more abstruse and\n objective, but Stravinsky never stands still, he always moves forward, \nforward, forward, and even though his followers may sometimes be led \ninto somewhat cacophonic by-roads, the discursions are always \ninteresting, and open up new paths of development. Nevertheless \nPetrouchka is certainly the apex of his genius in multi-coloured \norchestral resourcefulness, and it is probably the most musically \ninfluential of all his works ; hardly one of the younger generation of \nRussian Ballet composers has escaped the influence of Petrouchka in some\n form or another, and probably that is why it is the best known of his \nworks. Stravinsky, as I have said before, changes his style so often \nthat it is almost impossible to say which is the most representative of \nhis works, yet to a grarnophile who knows nothing of this amazing \ncomposer's works I would recommend Petrouchka as his first introduction \nto Stravinsky. Two excellent sets of Petrouchka records are available ; \none on six sides of Columbia (L2173-5), conducted by the composer, and \nthe other on eight sides of H.M.V. (D1521-4) by the London Symphony \nOrchestra under Albert Coates. Both renderings are extremely - good the \nColumbia version is the noisier, yet I think on the whole the clearer \nand more supple, but I greatly regret the excision of the trumpet, flute\n and bassoon trio where the Moor makes love to the ballerina. I \npersonally chose the H.M.V. version for its completeness.\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\"These Moderns 1.—Russia: Stravinsky and Prokofiev\" (excerpts) by A. M. Gordon-Brown, The Gramophone, March 1930\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC304.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cbr\u003eRecorded 16 February 1928. matrices CR-1699-1A and CR-1700-1; \u003cbr\u003eHMV D1491. \u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e May Night - Overture\u003c\/span\u003e\u003cbr\u003eMatrix\n CR-2454-3, Recorded 8 October 1929, Queen’s Hall, transmitted by phone \nline to Small Queen’s Hall; matrix   Cc-17848-2, recorded 5 November \n1929, Hayes Main Studio. \u003cbr\u003eIssued on HMV D1744. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMUSSORGSKY\u003c\/b\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003cbr\u003eRecorded 7 May 1930, Queen’s Hall, transmitted by phone line to Small Queen’s Hall. \u003cbr\u003eMatrices CR-2486-2 and CR-2487-2; Issued on HMV D1855. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor - Overture\u003c\/span\u003e\u003cbr\u003eRecorded 26 October 1926, Kingsway Hall, transmitted by phone line to Small Qqueen’s Hall. \u003cbr\u003eMatrices CR-815-1 and CR-816-1;Issued on HMV D1210. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor – Ballet of the Polovetsian Maidens\u003c\/span\u003e\u003cbr\u003eRecorded\n 24 October 1927, Queen’s Hall, transmitted by phone line to Small \nQueen’s Hall; matrices CR-1554-1 and CR-1555-1A; Issued on HMV D1528. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Petrushka Ballet\u003c\/span\u003e \u003cbr\u003eRecorded\n 19 and 24 October 1927, Queen’s Hall, transmitted by phone line to \nSmall Queen’s Hall;; 5 January and 15 February 1928. Kingsway Hall; \ntransmitted by phone line to Small Queen’s Hall. \u003cbr\u003eIssued on HMV D1521-1524. \u003cbr\u003eThis set was also issued on Italian and Czech HMV as well as Electrola but never on Victor. \u003cbr\u003eThe matrix and date information is as follows: \u003cbr\u003eSide 1. CR-1542-2B (19 October 1927) \u003cbr\u003eSide 2. CR-1543-3A (5 January 1928) \u003cbr\u003eSide 3. CR-1544-1A (19 October 1927) \u003cbr\u003eSide 4. CR-1545-4 (15 February 1928) \u003cbr\u003eSide 5. CR-1546-1A (19 October 1927) \u003cbr\u003eSide 6. CR-1547-2 (15 February 1928) \u003cbr\u003eSide 7. CR-1552-1A (24 October 1927) \u003cbr\u003eSide 8. CR-1553-2 (24 October 1927) \u003cbr\u003e\u003cbr\u003eThe present transfer was made from mid-1930s Electrola pressings, EJ381-384. \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eElectric HMV recordings 1926-30\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 73:15\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC304.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC304.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116557029437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116557062205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC304_eecf7b72-5873-42b3-8a79-5b85f536865b.jpg?v=1554801530"},{"product_id":"pasc303","title":"COATES conducts Russian and French music (1921-24) - PASC303","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Coq d'Or - suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Firebird Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e Glinka, Liadov, Debussy\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eAcoustic HMV recordings 1921-24\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:19\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fColourful, euphoric and above all, musical578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI have been unhappy with Pristine Audio’s attempts to make early LPs \nsound like digital CDs, but here we have a collection of acoustic \nrecordings and the transfer engineer is Ward Marston. I have not been \nable to compare any other transfers of these same recordings – the \nvarious sites offering early recordings for free download, such as \nShellackophile and Damian’s 78s, have not so far branched into Coates \nvery much. My impression is that we hear these ancient recordings about \nas well as we are ever likely to. Readers who came to music in the 1960s\n will remember that in those days the typical LP player also had \nprovisions for playing 78s. They invariably reproduced the discs with a \nhigh level of scratchy hiss. On the rare occasions that I actually heard\n some 78s played by a collector with an old player and a stock of fibre \nneedles, the hiss was gentler, more of a swish, and the music somehow \nemerged from it remarkably well. That’s about how we get it here, but \nwith more detail than most of those old players could ever extract. When\n the textures are relatively spare, as in the Ravel, it’s amazing how \nmuch nuance and timbre comes across. But there’s no denying that \nclimaxes get strident, often confused, and the lack of depth is tiring \nto the ear. \u003cbr\u003e \u003cbr\u003eThere are historical recordings where one can still\n be caught up in an enthralling experience. There are others where the \nmusical lessons to be gleaned are so great that it is worth persevering.\n But there are also some where one says “so that’s what it sounded like”\n and passes on to other things. \u003cbr\u003e \u003cbr\u003eThese considerations were \nparticularly aroused by the Glinka and Rimsky-Korsakov items. This is \nthe sort of music that thrives on modern sound. Nor does it call for the\n sort of interpretative insight reserved for the few. One can note that \nCoates’s “Symphony Orchestra”, whatever it was, was a crack band. In \nfast string passages he gets the sort of brilliant articulation \ngenerally associated, in recordings from that period, with Mengelberg \nand the Concertgebouw. Given that fast tempi go at a real lick, anyone \nwho expects to find slack orchestral standards in London of the 1920s is\n in for a surprise. All the same, brilliant playing and high energy \nlevels are not unknown in more recent times, so one would need some \nfurther reason for listening again. Not only do I not find this, I began\n to feel, particularly in the Golden Cockerel music, that Coates’s \nrelentlessly up-front approach has its limits. It was interesting to \nturn to a little-remembered version of this suite set down, I think for \nPye in the 1960s, by the London Philharmonic under Hugo Rignold - you \ncan download this from Rediscovery Paperbacks if you’re interested. The \nLPO was not a virtuoso band at that time but there is a strong feeling \nof affectionate enjoyment of the music by all concerned and a welcome \nreminder that Rignold was a dab hand at music with a strong \nstory-telling content. This is important with music that risks seeming \nthe fruit of the drawing-board more than of inspiration. \u003cbr\u003e \u003cbr\u003eAgainst\n all odds, the performance that gave me most pleasure here was that of \nthe Stravinsky. With the music only thirteen years old, one rather \nexpects to find a bemused orchestra treading warily and none too \nunanimously through the music on a note-by-note basis. Such early \nrecordings of Stravinsky certainly exist – some of them under the \ncomposer’s own baton – but Coates’s band seems to have known the music \nall its life. The score is not played as an extravagant piece of noisy \nmodernism but as a refined successor to Debussy, colourful, euphoric and\n above all, musical. \u003cbr\u003e \u003cbr\u003eIt’s interesting to have this followed by \nKikimora, since Diaghilev had initially asked Liadov to compose the \nFirebird ballet. Stravinsky himself is down as saying that Liadov would \nnever have had the energy to write a score like that. Strangely, in \nCoates’s super-energetic hands the two composers’ styles seem remarkably\n similar! \u003cbr\u003e \u003cbr\u003eThe Debussy is a slightly unsettled performance, \nthough Coates, a noted Wagnerian, makes the most of the Tristan quote. \nIn the Ravel we may note his skill in realizing every detail of the \norchestration but we may also note a pervasively heavy, over-regular \nbeat. How much more flexible is the 1949 Cluytens version, included in \nan Andante compilation of historical Ravel performances, “Le jardin \nfëerique” caressed and built up lovingly where Coates is almost \nperfunctory. Was he at his best only in music that is fast and noisy? \u003cbr\u003e \u003cbr\u003e\n This compilation was sent to me in tandem with another containing \nCoates’s performances, from the same period, of Tchaikovsky’s 5\u003csup\u003eth\u003c\/sup\u003e Symphony and Francesca da Rimini and Borodin’s Polovtsian Dances. For a rounded picture, the reader should now read my \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Dec11\/Tchaikovsky_5_Coates_PASC297.htm\"\u003ereview\u003c\/a\u003e of the companion disc. \u003cbr\u003e \u003cbr\u003e\u003cb\u003e\u003ci\u003eChristopher Howell\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC303.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmilla - Overture\u003c\/span\u003e\u003cbr\u003eRecorded 5 May 1922; Matrix Cc1292-2; Issued on HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003c\/span\u003e\u003cbr\u003eRecorded 10 May and 14 July 1922.\u003cbr\u003eIssued on HMV D732-734.\u003cbr\u003eSide 1 recorded 14 July 1922; matrix Cc1307-4; HMV D732.\u003cbr\u003eSide 2 recorded 10 May 1922; matrix Cc1308-2; HMV D732.\u003cbr\u003eSide 3 recorded 10 May 1922; matrix Cc1309-2; HMV D733.\u003cbr\u003eSide 4 recorded 14 July 1922; matrix Cc1310-4; HMV D733.\u003cbr\u003eSide 5 recorded 14 July 1922; matrix Cc1659-1; HMV D734.\u003cbr\u003eSide 6 recorded 14 July 1922; matrix Cc1660-3; HMV D734.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e The Snow Maiden - Dance of the Tumblers\u003c\/span\u003e\u003cbr\u003eRecorded 14 July 1922; matrix Cc1661-1; HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cbr\u003eRecorded 24 and 29 October 1924. Issued on HMV D958 and 959.\u003cbr\u003eSide 1:\u003cb\u003e 1. Introduction – Kashchei's Enchanted Garden – Dance of the Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5298-1; HMV 958\u003cbr\u003eSide 2: \u003cb\u003e2. Supplication Of The Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5297-2; HMV D958.\u003cbr\u003eSide 3: \u003cb\u003e3. The Princesses' Game With The Golden Apples; 4. The Princesses’ Khorovod\u003c\/b\u003e\u003cbr\u003erecorded 24 October 1924; matrix Cc5291-1; HMV D959.\u003cbr\u003eSide 4: \u003cb\u003e5. Infernal Dance Of All Kashchei's Subjects\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5296-2; HMV D959.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Kikimora\u003c\/span\u003e\u003cbr\u003eRecorded 28 October 1921; matrix Cc608-2; HMV D620\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Golliwog's Cakewalk from Children's Corner Suite\u003c\/span\u003e\u003cbr\u003eRecorded 25 April 1922; matrix Cc1243-2; HMV D620.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 November 1921, and 25 April 1922. Issued on HMV D708 and 709.\u003cbr\u003eSide 1, \u003cb\u003ePavane de la Belle au Bois Dormant; Petit Poucet.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc709-2; HMV D708.\u003cbr\u003eSide 2, \u003cb\u003eLaideronette, Impératrice des Pagodes.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc710-3; HMV D708.\u003cbr\u003eSide 3, \u003cb\u003eLes entretiens; De la Belle et de la Bête.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1241-3; HMV D709.\u003cbr\u003eSide 4, \u003cb\u003eLe Jardin Férique.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1242-2; HMV D709.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC303.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC303.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eReview of this Firebird Suite recording, 1925:\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"I can imagine strife in many a peaceful home when Part 4 of this suite is reached.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFather: \u003c\/b\u003e\"I call that a noise.\"\u003cbr\u003e\u003cb\u003e\u003cbr\u003eSon or Daughter\u003c\/b\u003e,\n with that desire to irritate so conspicuous in happy families : \"Noise?\n A term used by the Elizabethans to denote a band or company of \nmusicians.\"\u003cbr\u003e\u003cbr\u003e(Confused sounds from father.)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eMother\u003c\/b\u003e, reading newspaper, quite irrelevantly remarks \"How terrible these Bolshevists are.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSon\u003c\/b\u003e,\n of course, misunderstands, and replies with withering scorn \"Naturally \nyou cannot understand that the juxtaposition of tonal masses, the \nempirical atonalities, etc., etc.\" (until the entire family is flattened\n out!)\u003cbr\u003e\u003cbr\u003eThe Firebird music suffers more from being detached from \nits proper setting—the theatre—than did the later work Petrouchka. It \nwill sound extraordinarily scrappy and disjointed to anyone who has not \nseen the ballet. Moreover, the titles affixed to the records do not \ncorrespond very satisfactorily with the plot given in the supplement. \nFurther, Mr. Percy Scholes' excellent analytical notes, done for a \nB.B.C. concert at Covent Garden, from which I have culled some \ninformation, present the music in a different sequence to that given \nhere. Perhaps, therefore, the following analysis, merely a personal \ninterpretation fused with the main outlines of the story, will be \nhelpful.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePart 1.\u003c\/b\u003e—An enchanted garden with something \nsinister and evil lurking in the background. A scene bathed in \nhalf-light. After many obscure mutterings the air suddenly grows \ntremulous with sound, a rich glow dispels the shadows. The wonderful \nexotic fire bird flutters into the garden.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 2.\u003c\/b\u003e—She \ndances round a silver tree loaded with golden fruit, seeming to the \nyoung Prince Ivan (hidden in the bushes) the loveliest thing he has ever\n seen. Greatly daring he captures her, but she begs to be released, \noffering him a gift of one of her feathers.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 3.\u003c\/b\u003e—She \ndeparts. The garden is now filled with a band of maidens headed by a \nPrincess. They too dance with charming vivacity and have a game with the\n golden apples. At dawn they disappear.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 4.\u003c\/b\u003e—The Prince\n is seeking them when suddenly there appears the monstrous retinue of \nthe evil spirit of the place, the demon king Kastchei The magic feather \npreserves Ivan's life, but the Firebird also comes to his rescue. She \nmakes the bevy of wild Indians, warrior Turks, Chinamen, Clowns, Imps, \nHobgoblins, Ogres, and Apes burst into a frenzied dance. While they are \nthus engaged she directs Ivan to smash a huge egg in a casket in which \nis hidden the demon's life. This done the monster dies and the loathsome\n creatures vanish. Ivan marries the princess.\u003cbr\u003e\u003cbr\u003eThe highly coloured\n orchestration rather blinds one to the lack of any real \"meat\" in the \nmusic. It is a positive relief on reaching Part 3 to encounter a genuine\n tune, one which seems better than it actually is by reason of what has \ngone before. Rhythmically the music is feverishly alive; melodically it \nhas to rely on actual or spurious folk tunes for sustenance. These sound\n very like concessions. The final section with its blocks of harmonies \npushed this way and that makes a terrific din that fits the stage \npicture, but is meaningless without. As a study for Petrouchka the music\n has a definite interest and as all of us like a bit of \"twopence \ncoloured\" at times, these records will find a place in our cabinets. \u003cbr\u003e\u003cbr\u003eWhatever\n criticisms one may make of this Debussy–Scriabin–Stravinsky confection,\n there are none to be made about the recording. Real oboe tone, that \nfloating incisive quality, is heard at last; the string background, the \noccasional solo violin relief, the writhings and posturings of the wind \nand brass are excellently reproduced. Everyone, at least, will be able \nto take genuine pleasure in the Dance of the Princesses (Part 3).\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eN.P.,\u003c\/b\u003e The Gramophone, April 1925, review of the Albert Coates recording of Stravinsky's The Firebird\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116554932285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116554965053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC303_cc0062e4-597d-48e0-be23-5f9977353135.jpg?v=1554801480"},{"product_id":"pasc422","title":"ELGAR, KOUSSEVITZKY, STOKOWSKI Accidental Stereo Recordings (1929-33) - PASC422","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 6 in B minor, Op.74 (Pathétique)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Boléro\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSAINT-SAËNS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Carnival of the Animals\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Rite of Spring\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELGAR\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cockaigne Overture\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 recordings · 1929-1933\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:03\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 style=\"font-size: 16px;\"\u003eSir Edward Elgar - BBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSerge Koussevitzky - Boston Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski - The Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf only there had been more accidents like this! 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat an odd and fascinating collection \nthis is—“Aquarium,” “Personages with Long Ears,” and “The Cuckoo in the \nHeart of the Woods” from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnival of the Animals\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n the Introduction, “Games of the Rival Tribes,” “Procession of the Wise \nElder,” “Adoration of the Earth” and “Dance of the Earth” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; and the last four minutes or so of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCockaigne Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, coupled with a complete “Pathetique” and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In his annotations the producer, Mark Obert-Thorn, explains what \n“accidental stereo” is: “Shortly after the introduction of electrical \nrecording, it became standard practice to make backups for wax matrices \nby simultaneously recording on a second cutting table….In the vast \nmajority of cases, the two cutters were fed from the same microphone. \nOccasionally, however, each was fed from its own microphone and where \nthose matching takes survive and have been released, it is possible to \ncombine them to produce what has come to be called “accidental stereo.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI don’t know how many readers will want\n this CD; it’s the sort of novelty you might play to surprise your \nfriends. If your curiosity gets the better of you, here’s what I \nsuggest: start off with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n preferably with a headset. Side one of the original 78s is monaural. \nThen you arrive at side two and suddenly the sound stage widens and \nblossoms into a rich, slightly directional sonority that I found \nastonishing and continues that way to the music’s conclusion. \nKoussevitsky was apparently someone who didn’t heed Ravel’s description \nof the piece as “\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eseventeen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n minutes of noise without music” and dispatches the piece in 13:25. \nThere’s a story that Ravel once burst into Koussevitsky’s dressing room \nafter hearing him race through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n shouting “It was a thousand times too fast … a thousand times!” The \nmaestro’s cynical rejoinder was, reputedly, “Really sir … hardly a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethousand \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etimes.”\n Anyway, I detest the performance (I don’t like his later recording, \neither) but was thrilled by the sound. For another dramatic comparison, \ntry Koussevitsky’s 1930 Tchaikovsky Sixth, which starts out with two \nchannels. Then, on side eight, midway through the third movement, we \nsuddenly lose our second channel and the sound flattens out into (I have\n to say it) dull, flat monaural the rest of the way, and what a letdown \nit is. I’m surprised that, given the recording’s 1930 origin, Victor \ndidn’t have him rerecord the piece later, instead favoring Ormandy, \nStokowski, and Toscanini. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the CD is stereophonic and\n frustrating because the sound is so remarkable and unexpected. If you \nthought Stokowski’s Philadelphia stuff sounded good in one channel, wait\n until you hear what it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecould\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n have sounded like with two, even with a narrow stereo spread. Even the \nbrief Elgar excerpt, with its under-nourished strings, sounds remarkably\n vivid. If only there had been more accidents like this! \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 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC422.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAmazing \"accidental\" stereo 78rpm recordings made by Elgar, Koussevitzky and Stokowski\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew technologies and techniques produce astonishing stereo results from these unexpected early electric recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eShortly after the introduction of electrical recording, it became \nstandard practice to make backups for wax matrices by simultaneously \nrecording on a second cutting table, with the takes from the first being\n numbered 1, 2, etc. and the ones from the second 1A, 2A, etc. In the \nvast majority of cases, the two cutters were fed from the same \nmicrophone. Occasionally, however, each was run from its own microphone;\n and where those matching takes survive and have been released, it is \npossible to combine them to produce what has come to be called \n“accidental stereo”.\u003c\/p\u003e\u003cp\u003eSince this phenomenon was first brought to light some thirty years \nago, a number of matching “plain” and “A” takes have been proposed as \npossible stereo pairs; but until recently, the technology did not exist \nto prove whether they were or not. The problem lay in perfectly \nsynchronizing the two sides: there could be differences in speed between\n the original cutting turntables, within each recorded side, or in the \nplayback turntables. There was also the problem of “wow” caused by \nwarping of the original discs or imperfect centering on the turntable. \nAny one of these factors could lead to a false positive – identifying \ntwo recordings made from the same setup as stereo based on subtle \nvariations which caused them to be out of sync with each other.\u003c\/p\u003e\u003cp\u003eThe recent development of Celemony’s \u003cem\u003eCapstan\u003c\/em\u003e \npitch-stabilizing program, used in conjunction with phase alignment \nsoftware, finally enables these problems to be solved with a degree of \naccuracy hitherto unattainable. In successfully synchronizing some \nproposed stereo sides, others have proven to be only in mono. For \nexample, Side 4 of Koussevitzky’s 1930 Tchaikovsky Pathétique came out \nin takes labeled 1 and 1A; however, analysis has proven that at least \none of them was mislabeled, and that they are in fact identical. \nSimilarly, two 1941 Stokowski recordings previously released in what was\n believed to be accidental stereo were shown to be no more than slightly\n out-of-sync mono.\u003c\/p\u003e\u003cp\u003eThe present release brings together nearly all the sides that have \nbeen identified publicly so far as Classical accidental stereo \nrecordings. As the name implies, accidental stereo was never intended to\n be heard in synchronized form, and was not miked the way a stereo \nrecording would have been. Most likely, one microphone was centered on \nthe orchestra, while the other was pointed slightly off to one side. \nHowever, the joined-up results do suggest some directionality that \naccords with what is known of the orchestras’ seating patterns under \nthese conductors. For example, a 1947 picture of Koussevitzky and the \nBoston Symphony on stage at Symphony Hall displays the basses lined up \nto the left and back with the timpani stationed on the right – exactly \nas we hear them in the Tchaikovsky.\u003c\/p\u003e\u003cp\u003eOne can best appreciate the added dimension accidental stereo brings \nat those points where the music blossoms from mono into stereo. \nSuddenly, what has been the auditioning of a historical artifact takes \non a presence and a reality that puts us in the concert hall 85 years \nago – a time machine like no other.\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e  Carnival of the Animals \u003c\/span\u003e\u003cbr\u003eAquarium – Personages with Long Ears – The Cuckoo in the Heart of the Woods [stereo]\u003cbr\u003e\u003cb\u003eOlga Barabini\u003c\/b\u003e and \u003cb\u003eMary Binney Montgomery\u003c\/b\u003e(pianos)\n\u003cp\u003eRecorded 27 September 1929 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CVE-51883-2\/2A\u003cbr\u003eFirst issued on Victor 7201 in album M-71\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cbr\u003ePart 1: The Adoration of the Earth\u003cbr\u003eIntroduction [stereo]\u003cbr\u003eGames of the Rival Tribes – Procession of the Wise Elder – Adoration of the Earth – Dance of the Earth [stereo]\n\u003cp\u003eRecorded 24 September 1929 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CVE-37471-4\/4A and 47975-1\/1A\u003cbr\u003eFirst issued as Victor 7227 and 7228 in album M-74\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 6 in B minor, Op. 74 (Pathétique)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e1st Mvt.: Adagio – Allegro non troppo [mono\/stereo]\u003cbr\u003e2nd Mvt.: Allegro con grazia [stereo]\u003cbr\u003e3rd Mvt.: Allegro molto vivace [stereo\/mono]\u003cbr\u003e4th Mvt.: Adagio lamentoso – Andante [mono]\n\u003cp\u003eRecorded 14 - 16 April 1930 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CVE-56824-2, 56825-2, 56832-2\/2A, 56833-1A, 56826-2\/2A, 56827-2\/2A, 56828-1\/1A, 56829-2, 56830-2A and 56831-2\u003cbr\u003eFirst issued as Victor 7294 through 7298 in album M-85\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL  \u003c\/b\u003eBoléro\u003c\/span\u003e [mono\/stereo] \u003cb\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eRecorded 14 April 1930 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CVE-56820-1A, 56821-2\/2A and 56822-2\/2A\u003cbr\u003eFirst issued on Victor 7251\/2 [later in album M-352]\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eBoston Symphony Orchestra ∙ Serge Koussevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eELGAR  \u003c\/b\u003eCockaigne Overture (In London Town), Op. 40\u003c\/span\u003e – conclusion [stereo] \u003cbr\u003e\n\u003cp\u003eRecorded 11 April 1933 in Abbey Road Studio No. 1, London\u003cbr\u003eMatrix nos.: 2B 4176-1\/1A\u003cbr\u003eFirst issued on HMV DB 1936\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBBC Symphony Orchestra ∙ Sir Edward Elgar\u003c\/b\u003e\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\/PASC422.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC422.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhen Mark Obert-Thorn first suggested a collaboration on this project\n a few months ago, neither of us really knew what to expect. Mark's \ntheory that Capstan might prove helpful in synchronising these \nindependently-cut recordings was just that, a theory. I was less sure \nthat Capstan would be as consistant as would be required, particularly \nin certain passages of heavily-rhythmic music, or where microphone \nplacement might cause different instruments to dominate the mix, thus \nstressing different harmonics and changing, if only minutely, the \nsoftware's analysis of pitch.\u003c\/p\u003e\u003cp\u003eAs I began to work on the first recordings sent to me, it was clear \nthat we were onto something - and also that my involvement would have to\n be greater than originally envisaged. With Capstan doing at least 95% \nof the \"grunt work\" on most of the sides, there was still a considerable\n amount of additional work involved, preparing the sides specifically \nfor this project prior to their analysis and repitching to minimise risk\n of error, and then identifying minor mismatches between two \npost-Capstan sides and adjusting manually for this when mixing them \ntogether to produce the stereo result. Finally each side had to be \nfine-tuned using phase-alignment software to identify commonality \nbetween the two channels to a very fine resolution and adjust them to \nfit exactly.\u003c\/p\u003e\u003cp\u003ePrevious to this technology the results have been at times ambiguous.\n We made a number of dicoveries in the process of producing this release\n which strip away this ambiguity and introduce, for the first time, \ncertainty to the identification of these recordings as genuine \n\"accidental stereo\". After apparently successfully mixing \"stereo\" sides\n together I came to a pair of Stokowski recordings that had already been\n identified \u003cem\u003eand released elsewhere\u003c\/em\u003e as accidental stereo \nrecordings. My technique proved otherwise. By bringing a level of \nunprecendented accuracy to the pitching and matching of the two \n\"channels\" I discovered that both were actually identical, and thus the \nclaims for accidental stereo here were erroneous, based on phase errors \nand wishful thinking. No matter how I approached the recordings in \nquestion, I always ended up with the same result: mono.\u003c\/p\u003e\u003cp\u003eBy contrast, the final recording on our release, Elgar conducting his\n Cockaigne Overture, has been specifically highlighted as a recording in\n which \"accidental stereo\" would be impossible, due to working practises\n at EMI's Abbey Road studios at the time, based on testimony of people \nwho had worked there. Some very eminent names have been quoted, stating \nthat any suggestion of accidental stereo here can only be down to the \nkind of phase error and wishful thinking that we found in the case of \nthe Stokowski. They are wrong. There is absolutely no doubt that this is\n genuine accidental stereo in the case of this wonderful recording, and \nit's a fantastic find, given the work and its composer\/conductor here.\u003c\/p\u003e\u003cp\u003eFinally, I was originally thrown by recordings which seemed to wander\n around the stereo soundscape from left to right and then back again. \nWas this an error in my method? No. It became particularly obvious in \nthe third side of the Tchaikovsky symphony that someone was \"gain \nriding\" the output to the disc cutter that produced our left channel, \nwhilst the right channel was being recorded \"straight\" from the \nmicrophone, without any interference with levels. Once this was \nestablished it was a relatively straightforward job to correct for this \nand stabilise the stereo imagery, with the added bonus of accurately \nlosing the effect of gain riding by a nervous sound engineer keen not to\n overload his recording equipment.\u003c\/p\u003e\u003cp\u003eThe end results have been some of the most satisfying of my career in\n audio restoration. There is a real sense of wonder in the recordings \nwhere a mono sound suddenly opens out into a glorious - if perhaps a \nlittle confused - stereo picture. And when listening on headphones, one \nfinds oneself more \"there\" in the recording studio than I've ever felt \nbefore in any recordings of this era. It is a truly remarkable result \nthat I would recommend highly to anyone, regardless of their interest \n(or otherwise) in the pieces being performed or the musicians involved. \nThey only sweeten the pie!\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eHistoric Review: Stravinsky \u0026amp; Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: small;\"\u003eNB. This is how \nthe original reviews of these two highly unusual accidental stereo \nreleases appeared in The Gramophone in 1931. It is an incredible \ncoincidence that they not only appeared in the same review column, but \nthat one followed directly on from the other. It's also instructive to \nfind the music being reviewed over and above the performances at this \npoint in time.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" lang=\"en-GB\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eIt \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eis \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enot disrespect that forces me to \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003edeal \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ewith the Stravinsky work so briefly. The month is overwhelming! I wish I had space to argue the \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eRite\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e and the wrong of it. Parts \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eof \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ethe work are so extraordinarily powerful (taking the composer on his pagan ground) that \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit is \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ea \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003epity \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003ethe \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003erest does not come up to sample. Is \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003etoo long? And are we not now too far from the \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eballet to \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eget \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003ethe \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eflavour of the work? The music is obviously born for the ballet, like all the best of Stravinsky. Outside that, and \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003ehis \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enationalistic colour and rhythm, \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eI \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ecan find next to nothing in him. But the part that \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eis\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e powerful cannot be forgotten, and should not be under-estimated. As far as \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003eI \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ecan\n tell without the score at hand (and it is a score one cannot well claim\n to know by heart!) this performance stands up to the music \nmagnificently. The parts are thus labelled :\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003e— First Part: Earth Worship\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e—\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eIntroduction, Immanence of Spring, Adolescents’ Dance, Symbolic Scene of the \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eRape;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e D1920 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eDances in Honour of Spring, Mock Conflicts of Rival Communities, Procession of the Elder, Earth Worship, Dance of the Earth;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e D1921 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eSecond Part—The Sacrifice: Introduction, Mystic Circles of the Adolescents, Glorification of the Chosen Virgin \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cem\u003e;\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eD1922 : \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eEvocation and Ritual of the Ancestors,\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e and \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cem\u003eSacred Dance of the Chosen One.\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e There is in that strange opening something sad, primitive and elemental \u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e: \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ethere the composer \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003egets \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003enearest t\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003eo\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e imaginative reality. The short- windedness of \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eso \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003emuch\n of the music, and its rhythmic complications, which do not always come \noff, its (to some of us) depressing primeval peasantism, prevent \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eus \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003efrom enjoying half the work. Still, those who like the work as a whole will be glad to have this, than which \u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003eit \u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003ewould be difficult to imagine a clearer, more rapt performance.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cspan\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eThe Tchaikovsky is of course a “ big noise ’’ (not \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe bad sense). Inevitably, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ea \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eman like Koussevitzky is \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eright match for \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ehis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ecompatriot.\n Here is another side of the Russian, but Stravinsky and Tchaikovsky are\n scarcely to be compared, in spite of the former’s admiration for the \nearlier writer. Here is cultivation—to excess, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eI \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efeel\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethat is partly why some musicians find Tchaikovsky rather unhealthy. It is not only \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003egloom, which one can take \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe stride \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eand there \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eno disparagement of workmanship, which indeed, we enormously admire. The \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e\u003cem\u003eideas\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e are not wearing well\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e—\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eso we \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efeel. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eThe gloopiness \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ejust a little too slick; but what stuff to give ’em in the nineties\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #636363;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e! \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eI \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003elike Koussevitzky’s basses, his precision with \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #484848;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2b2b2b;\"\u003e\u003cspan style=\"font-family: 'Century Schoolbook', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ebrass,\n the strings’ persuasiveness and their whoops aloft, the lighter wind \nwhiffs, the delicate phrasing in the 5-4 movement, with the touch of \ngravity here (needed for balance, since \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe March is rowdy, repetitive, but \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003efull \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eof gusto). The First and \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003elast \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003emovements, by the way, take two discs each, the second and third one each. The March \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis never \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eloud enough for me; the trouble \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eis \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethat \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eit cannot, accumulate force at every one of the (too many) \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003erepetitions. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eAt \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ethe last, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eJL \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ewant to see every door of the hall \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eburst \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eopen, and \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ea \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ebrass band march \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003ein at \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #2c2c2b;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003eeach \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan style=\"font-family: 'Book Antiqua', serif;\"\u003e\u003cspan lang=\"en-GB\"\u003e: \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspa\u003e\u003c\/spa\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 16-bit FLAC","offer_id":31975526477,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975526541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC422_a964a522-a949-432b-861f-9b094df175b3.jpg?v=1487682064"},{"product_id":"pasc418","title":"HORENSTEIN Stravinsky: The Rite of Spring; Symphony of Psalms (1953\/57) - PASC418","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Rite of Spring\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\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;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony of Psalms \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 · 1953 \u0026amp; 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 56:57 \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;\"\u003eSWR Symphony Orchestra, Baden-Baden\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChoeur et Orchestre National de la Radiodiffusion Française \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\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHorenstein’s Le sacre is a potent interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJascha Horenstein’s 1957 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n has long been assumed to be a monaural recording, as Vox issued it (on \nLP and on CD), and was once offered in fake-stereo on LP. But this is \nthe real thing: The original stereo recording disappeared, but not \nbefore it was pirated on a pseudonymous stereo Classica Records LP, two \ncopies of which served as Andrew Rose’s sources. This historical \nsituation—the legal copyright holder failing to maintain its protected \nmaterials, and only a pirate (e.g., illegal by copyright law) saving the\n situation—is not uncommon. I will be presenting an even more egregious \ncase in the near future. It shows today’s horrendous copyright laws to \nbe a farce, abused in practice as much by legal holders as by illegal \nusurpers. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt is immediately apparent that the \nstereo is genuine; as was the case with many early stereo recordings, \nthe spread is unnaturally wide, with woodwind instruments coming at the \nlistener from all angles. The sound is very reverberant. Never having \nheard the Classica LP, I can’t say how much of that comes from the \nsource. The recording’s low end is generous but soft. The tight rhythmic\n climaxes are just not potent enough: the bass drum whacks starting at \nmeasure seven of “Spring Rounds,” 49 in the Dover score, barely \nregister. And 53 to 54 gets pretty messy, as the recording is unable to \ncope with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efff \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etutti. A limited palette of color is more the orchestra than the recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHorenstein’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is very slow (total time 35:11), but it is a potent interpretation. I \nhave railed against the machine-like perfection and ease of several \n21st-century performances, but a certain level of instrumental security \nis required. Tough struggles can add to the effect of a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (e.g., Stravinsky’s 1940 New York Philharmonic) but at some points \nHorenstein’s troops seem to be taking it easy, not taking enough \nchances. Again and again, rhythmic details are just a touch off. At \nother times, they are firing on all cylinders, with exciting results. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere is no question that Horenstein \nwas an important conductor. That wasn’t widely enough recognized during \nhis life (and, being a Jew, his career was broken by the Thousand-Year \nReich), so a majority of his recordings were made with second-line \norchestras such as the Vienna Pro Musica (a pseudonym for what?) or \nVienna Symphony rather than the Vienna Philharmonic. Given the London \nSymphony, his 1959 Mahler Eighth is legendary. Sometimes he achieved \nmagnificent performances even with lesser ensembles. I’m afraid that \nisn’t the case here; a lot of the elements are in place, but the \norchestra is not up to the task. \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\"\u003eSymphony of Psalms\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a monaural recording from a few years earlier. The orchestra is \nacceptable some of the time, but Horenstein is let down by a weak, shaky\n chorus and a dreadful recording, cold and distorted. Andrew Rose, in \nhis notes, claims that “XR remastering has made a superb job of \nrendering it not only listenable, perhaps for the first time, but also \nvery enjoyable,” I can’t go that far. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eNevertheless, these two recordings have never sounded even this well before. Horenstein fans will not need my endorsement. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:3 (Jan\/Feb 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC418.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Horenstein's Rite of Spring finally gets a CD release in its original full stereo version\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThis classic 1957 Vox recording has only ever seen mono issues under Horenstein's name\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eJascha Horenstein's only recording of \u003cem\u003eThe Rite of Spring\u003c\/em\u003e was made in stereo, alongside his \u003cem\u003eFirebird Suite\u003c\/em\u003e\n and other recordings made in and around April 1957 for Vox. Yet when \nVox issued the original LP - and again when they reissued Horenstein's \nrecording of \u003cem\u003eThe Rite\u003c\/em\u003e fourteen years ago - they did so in mono. To most reviewers this seemed no great surprise, even though the \u003cem\u003eFirebird\u003c\/em\u003e\n was offered in stereo. The assumed explanation was this: recording \nindustry was at a point of transition, and what passed muster one week \nin mono might be rejected the following week, as the new vogue for \nstereo quickly spread.\u003c\/p\u003e\n\u003cp\u003eIncredibly, fake stereo LPs of the \u003cem\u003eRite\u003c\/em\u003e were later issued, \nyet this is no fake stereo recording. Something very unusual happened to\n Vox's stereo master tape of Horenstein's \u003cem\u003eRite\u003c\/em\u003e, and I suppose it's unlikely we'll ever discover quite what. It appeared on a 1970s stereo LP on the rather suspect \u003cem\u003eClassica Records\u003c\/em\u003e\n label in the US (CLAS 108), under a false name: the Rome Symphony \nOrchestra, conducted by one Leonardo Scotti - one of a number of older \nVox or Everest recordings the label issued in disguise. Only recently \nhas the recording been correctly identified as the 1957 Vox by Jascha \nHorenstein - as his cousin, Misha Horenstein (and others) verified to \nme.\u003c\/p\u003e\n\u003cp\u003eI managed to source two copies of the Classica \u003cem\u003eRite\u003c\/em\u003e LP to work from, together with a near-mint English pressing of the \u003cem\u003eSymphony of Psalms\u003c\/em\u003e, originally issued by Pathé but released in the US on Angel. The latter, despite being winner of the \u003cem\u003eGrand Prix du Disque\u003c\/em\u003e\n in 1954, was not well-recorded. However the LP was well-pressed, and XR\n remastering has made a superb job of rendering it not only listenable, \nperhaps for the first time, but also very enjoyable.\u003c\/p\u003e\n\u003cp\u003eThe stereo \u003cem\u003eRite\u003c\/em\u003e LP, meanwhile had had its sides reversed and\n suffered a thin tone with a distinct lack of bass. Both faults, and \nothers, have been rectified for this release. \u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eThe Rite of Spring\u003c\/span\u003e \u003cbr\u003eRecorded April 1957, Baden-Baden\u003cbr\u003eOriginally issued as Vox PL.10430 (mono)\u003cbr\u003eStereo transfer from Classica CLAS 108\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSWR Symphony Orchestra, Baden-Baden \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003eSymphony of Psalms\u003c\/span\u003e\u003cbr\u003eRecorded 30 June, 1953\u003cbr\u003eThéatre des Champs Elysées, Paris\u003cbr\u003eOriginally issued as Pathé DTX 138\u003cbr\u003eTransfer from Angel ANG 13101\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eChoeur et Orchestre National de la Radiodiffusion Française\u003c\/b\u003e \u003cbr\u003eChorus Master: \u003cb\u003eYvonne Gouverné\u003c\/b\u003e \u003cbr\u003ePianists: \u003cb\u003eRoger-Jean Boutry, Monique Mercier\u003c\/b\u003e\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eJascha Horenstein\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\/PASC418.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC418.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 and Ambient Stereo 24-bit FLAC","offer_id":32417383309,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo and Ambient Stereo 16-bit FLAC","offer_id":32417383437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo and Ambient Stereo MP3","offer_id":32417383565,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC418.jpg?v=1487682246"},{"product_id":"pasc462","title":"STRAVINSKY conducts STRAVINSKY (1932-47) - PASC462","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eL'histoire du soldat - Suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eJeu de cartes\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDumbarton Oaks Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1932-1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:20\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIgor Stravinsky \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSamuel Dushkin \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDumbarton Oaks Festival Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLamoureux Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fValuable for its sterling presentation of the Violin Concerto578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIs it\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Histoire du soldat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, or is it\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e L’Histoire du soldat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e?\n That bit of trivia has been bugging me for months; some readers may \nsuffer similar pangs. The usual reliable sources disagree, as do early \npublished scores. So: Go to the manuscript! Not so simple: The work was \nwritten by Ramuz and Stravinsky in many pieces; apparently there is no \nsingle manuscript, but many, many sketches. They are assembled in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eStravinsky’s \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eHistoire du soldat\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e: A facsimile of the sketche\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es, edited by Maureen A. Carr (A-R Editions, Inc, Middleton, Wisconsin, 2005). Two early sources are cited: C. F. Ramuz, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHistoire du soldat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Editions des Cahiers Vaudois, June 1920; and Igor Stravinsky, C. F. Ramuz, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHistoire du soldat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, London, J. W. Chester, 1924. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere is Stravinsky’s first monaural \nrecording of each work. All appeared in Andante’s three 3-CD Stravinsky \nsets, which were considered superb transfers in their day. Mark \nObert-Thorn’s transfer of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHistoire du soldat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (1932) is perhaps a touch clearer than the Andante one, but his Violin \nConcerto (1935) is a startling improvement: cleaner, brighter, with less\n distortion than on Andante, and—best of all—brimming over with life and\n color. The vitality of Samuel Dushkin’s violin and of Stravinsky’s \naccompaniment becomes fully apparent. Who said he was a poor conductor? \nCriticism by members of the New York Philharmonic about his 1940 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre du printemps\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e may have been self-serving (we managed to make a great recording in spite of the lousy conductor). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn’s recovery of detail does \nthe Berlin Philharmonic no favors, exposing both inaccuracies and \nineffectual playing in this once-famous recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJeu de Cartes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n How odd that Hitler’s Berlin orchestra was recording Stravinsky in \n1938! The “Third Deal” shows considerable distortion, which appears to a\n lesser extent on Andante, working perhaps from a cleaner source. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDumbarton Oaks\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recording, played by a pick-up group named the Dumbarton Oaks Festival \nOrchestra on Keynote 78s, was very poor for 1947, including an \nunacceptable level of distortion. Neither Pristine nor Andante is able \nto make it pleasant listening. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis Pristine CD is valuable for its \nsterling presentation of the Violin Concerto. For the other three works,\n it does about as well as can be expected. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC462.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStravinsky conducts Stravinsky in rare and hard-to-find recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFilling the gaps in the Stravinsky discography - superb new transfers by Mark Obert-Thorn\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eThe present program might be called “The Uncollected Stravinsky”, as \nit brings together several items which have been left out of recent \nreissues of the composer’s recordings, mainly because they were done as \n“one-offs” for labels with which the composer did not usually record.  \nWe hear here his only recordings for Polydor, Telefunken and Keynote, as\n well as a French Columbia recording omitted in EMI’s “Composers in \nPerson” series set devoted to Stravinsky.\u003c\/p\u003e\n\u003cp\u003eIf you have this CD and the Mozart download on this webpage, plus our two earlier CDs (the one with Stravinsky conducting \u003cem\u003eThe Rite of Spring\u003c\/em\u003e and the \u003cem\u003eFirebird Suite\u003c\/em\u003e, the other with him conducting the suites from \u003cem\u003ePetrushka\u003c\/em\u003e and \u003cem\u003ePulcinella\u003c\/em\u003e), \u003cem\u003eplus\u003c\/em\u003e the 57 disc Sony Stravinsky set, \u003cem\u003eplus\u003c\/em\u003e\n the two-CD EMI \"Composers in Person\" Stravinsky release, you will have \nall of the composer's commercial recordings.  This new release fills in \nthe rest of the gaps.\u003c\/p\u003e\n\u003cp\u003eStravinsky’s recording career began in 1925 with some piano solo \nrecordings for the American Brunswick label which were never released.  \nThree years later, he began an association with Columbia in Europe, \nrecording in London and Paris regularly through 1934.  The recording of \u003cem\u003eL’histoire du soldat\u003c\/em\u003e heard here dates from this period, and was made contemporaneously with the composer’s Octet, using many of the same players.\u003c\/p\u003e\n\u003cp\u003eIn 1935, after making what looked to be his last discs for Columbia, \nStravinsky recorded his Violin Concerto for French Polydor in Paris.  \nThe soloist was the Polish-born, American-raised Samuel Dushkin, for \nwhom the concerto was written.  Before those sessions, Stravinsky and \nDushkin had collaborated on a number of chamber recordings for Columbia,\n principally the \u003cem\u003eDuo Concertant\u003c\/em\u003e and assorted violin-piano arrangements of earlier Stravinsky works.\u003c\/p\u003e\n\u003cp\u003eThe composer returned to French Columbia one last time, on February \n14th and 16th, 1938, for recordings with his son Soulima of his Concerto\n for Two Solo Pianos and its filler side, a Mozart Fugue.  These were \nnot first published until 1951 and are particular rarities in their \noriginal form.  While the former was reissued in the EMI Stravinsky set,\n the latter was omitted.  Since the present program is nearly at the \nmaximum length for a CD, the Mozart is being made available as a free \ndownload on the Pristine webpage devoted to this release.\u003c\/p\u003e\n\u003cp\u003eThree days after the two-piano sessions in Paris were completed, Stravinsky was in Berlin, recording his ballet score \u003cem\u003eJeu de cartes\u003c\/em\u003e\n with the Philharmonic in his only discs for Telefunken.  For the first \ntime, the composer could be heard leading a world-class ensemble, \nrecorded in state-of-the-art sound for the time, in warmly reverberant \nhall.\u003c\/p\u003e\n\u003cp\u003eStravinsky would not record again until April, 1940, when he began \nhis long association with American Columbia with sessions in New York.  \nBetween what seemed to be his last session for Columbia in 1946 and his \nfirst in a four-year association with RCA Victor that started in \nSeptember, 1947, the composer recorded his \u003cem\u003eDumbarton Oaks\u003c\/em\u003e \nConcerto for the small, short-lived Keynote label with an ad-hoc group \nthat included such top-rank players as Alexander Schneider and Bernard \nGreenhouse.  The recording’s first LP appearance was on Mercury, but it \nhas not had an “official” CD reissue on that label.\u003c\/p\u003e\n\u003cp\u003eThe sources for the transfers were first edition American Columbia “Royal Blue” shellac discs for \u003cem\u003eL’histoire du soldat\u003c\/em\u003e;\n Brunswick-Polydor discs pressed by American Columbia in their \n“Full-Range” period for the Violin Concerto; German Telefunken shellacs \nfor \u003cem\u003eJeu de cartes\u003c\/em\u003e; and the original Keynote 78s for \u003cem\u003eDumbarton Oaks\u003c\/em\u003e.  The webpage-only transfer of the Mozart Fugue came from a laminated French Columbia 78.  Except for \u003cem\u003eJeu de cartes\u003c\/em\u003e,\n all of the recordings were made in small, acoustically dry studios.  I \nhave chosen not to add artificial reverberation to these so as to \npreserve their original impact and detail.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eL’histoire du soldat – Suite\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eMarcel Darrieux\u003c\/b\u003e (violin); \u003cb\u003eEmil Godeau\u003c\/b\u003e (clarinet); \u003cb\u003eGustave Dhérin\u003c\/b\u003e (bassoon); \u003cbr\u003e\u003cb\u003eEugène Foveau\u003c\/b\u003e (cornet); \u003cb\u003eRaphaël Delbos\u003c\/b\u003e (trombone); \u003cbr\u003e\u003cb\u003eAlphonse-Joseph “Boussagol” Delmas\u003c\/b\u003e (double-bass); \u003cb\u003eJean-Paul Morel\u003c\/b\u003e (percussion)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003eRecorded 6\/7 May 1932 in the Studio Albert, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.: WLX 1599-1, 1600-1, 1601-1, 1602-2, 1607-1 \u0026amp; 1608-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003eFirst issued on Columbia LFX 263\/5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e Violin Concerto in D major\u003cbr\u003e\u003c\/span\u003e\u003cb style=\"font-size: small;\"\u003eSamuel Dushkin\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e violin\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eLamoureux Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003eRecorded 28\/29 October 1935 in Polydor Studio No. 2, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003e Matrix nos.: 771½ GEP, 772 GEP, 768½ GEP, 767 GEP, 769 GEP \u0026amp; 770½ GEP\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003e First issued on Polydor 566173\/5\u003c\/span\u003e\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e Jeu de cartes\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb style=\"font-size: small;\"\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 19 \u0026amp; 21 February 1938 in the Singakademie, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e Matrix nos.: 022884\/9\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e First issued on Telefunken SK 2460\/2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\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\u003eSTRAVINSKY \u003c\/b\u003e Dumbarton Oaks – Concerto for Chamber Orchestra in E-flat major\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb style=\"font-size: small;\"\u003eDumbarton Oaks Festival Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003eRecorded 28 May 1947 in the Reeves Beaux Arts Studios, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003e Matrix nos. KM-13\/16\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small; font-family: arial, helvetica, sans-serif;\"\u003e First issued in Keynote album DM-1\u003c\/span\u003e\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\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eIgor Stravinsky\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\/PASC462.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC462.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":31975994637,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975994701,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC462_5408e32e-2dec-4686-acb9-5748fdad06e2.jpg?v=1487682631"},{"product_id":"paco061","title":"STRAVINSKY conducts Stravinsky: Perséphone (1957) - PACO061","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;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePerséphone\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\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 14 January 1957 Columbia 30th Street Studios New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 53:33\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;\"\u003eVera Zorina, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNarrator\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRichard Robinson, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eTenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003edirector Dr. John Finley Williamson\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\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 Igor Stravinsky\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a major addition to the heritage of Stravinsky performances578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003ePerséphone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the “balletic retelling of the regeneration mystery” (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew Grove\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), written in Paris in 1933–34, is a weak sister of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOedipus Rex\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and the Symphony of Psalms. “Narrator” (taken from the original LP) is a\n misnomer; the speaker is Perséphone herself, taking full part in the \naction. In the 22-CD set \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWorks of Igor Stravinsky\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n ($31.99 at Amazon—one of the great bargains), the part is labeled \n“Perséphone (the Goddess).” The tenor role is there called “Eumolpus \n(The Priest),” who oversees the drama, acting more as narrator than does\n the Goddess. Confused yet? The ancient myth, involving trips to Hades \nas well as the regeneration of spring on earth, crams too much into one \ntale, and André Gide’s libretto is of little help. The uneven and \nunconvincing story is responsible for the distinct lack of attention \nthis work has received. Which is too bad, because the score contains \nmuch of interest, if not quite the tension and power of its siblings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis monaural recording was made by \nColumbia Records on January 14, 1957, months before the company switched\n to stereo (it had made one stereo recording in New York, Leonard \nBernstein’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in December 1956). Andrew Rose’s transfer was made from a “near mint” \ncopy of the Columbia LP, ML-5196, and it is a notable improvement over \nthat vinyl disc. Not only has noise been eliminated and clarity \nimproved, but the tenor’s voice has gained color and an appropriate \nring. Stravinsky remade \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePerséphone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in stereo in Hollywood a decade later, but that performance is more \ngeneralized, with looser orchestral playing; nor is the overly sweet \nstereo sound appropriate for this work. So this is a major addition to \nthe heritage of Stravinsky performances. It is sung and spoken in the \noriginal French, but neither of the Stravinsky-led CDs has a libretto; \ngiven the complex, confusing nature of the tale, this makes the original\n LP a keeper for its six-page libretto, with French and English printed \nside-by-side. The Internet offers at least one libretto to download; I \nhave not seen it and so cannot recommend it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO061.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStravinsky's definitive recording of his melodrama Perséphone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBizarrely overlooked 1930s masterpiece in superb 1957 New York recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis transfer of Stravinsky's far too rarely-heard \u003cem\u003ePerséphone\u003c\/em\u003e\n was suggested to me by John Phillips, who also supplied the source \nrecording, a copy of the original Columbia Masterworks LP in near mint \ncondition. The original recording was exceptionally well made, though \none can only curse Columbia for their non-adoption of stereo at this \nstage in the 1950s! In carrying out the XR remastering of the recording I\n compared it sonically to a more recent recording of the work by Kent \nNagano and the London Symphony Orchestra (as referenced in the review \nabove).\u003c\/p\u003e\u003cp class=\"body\"\u003eThe two shared a very close average frequency response \ncurve, though the latter did highlight a slight thinness in the voices \nand suggest an adjustment which brings out greater richness in the voice\n of the tenor, Richard Robinson. This aside, and with a reduction in the\n tape hiss present on the original LP, this transfer is exceptionally \nfaithful to the original. Unlike the LP, however, there is here no \nrequirement to split the lengthy second section into two halves in order\n to meet the time limitations of the vinyl long playing record.\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 Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003ePerséphone\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 14 January 1957 Columbia 30th Street Studios New York City\u003cbr\u003eTransfer from Columbia Masterworks LP ML 5196\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2011\u003cbr\u003e Cover artwork based on a photograph of Igor Stravinsky\u003cbr\u003eTotal duration: 53:33\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eVera Zorina, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eNarrator\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eRichard Robinson, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eTenor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003edirector Dr. John Finley Williamson\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eConducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Igor Stravinsky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\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\/PACO061.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO061.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":33845714125,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33845714189,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33845714253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33845714317,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO061.jpg?v=1489157362"},{"product_id":"pasc432","title":"STRAVINSKY, GLAZUNOV conduct Stravinsky \u0026 Glazunov (1928-32) - PASC432","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetrushka Suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePulcinella Suite\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLAZUNOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Seasons\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1928-32\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 69:16 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIgor Stravinsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlexander Glazunov, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducto\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003er\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWalther Straram Concert Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt finds Stravinsky in striking form, leading musicians who are clearly excited to play for him578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe juxtaposition of Igor Stravinsky \nand Alexander Glazunov on one CD is a little puzzling. Neither composer \nhad the warmest admiration for the other. The producer’s rationale is \nthat all three ballet scores presented here are by Russian composers and\n were premiered in the first two decades of the last century. \nStravinsky, though, referred to Glazunov as “Carl Philip Emmanuel \nRimsky-Korsakov,” a jibe which perhaps indicates the relative \nsignificance of Glazunov compared with his mentor, but which I believe \nsubstantially overlooks the aesthetic differences between those two \ncomposers. As for the conservative Glazunov, he said \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetrushka \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas “not music,” although he praised its orchestration. I suspect Pristine Audio planned to release \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Seasons\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n but was puzzled over a coupling, as Glazunov made no further commercial\n recordings. So we have here the shotgun marriage of Stravinsky to \nGlazunov. Nevertheless, this CD may be considered a bargain. A copy of \nDutton’s reissue of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Seasons \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecurrently costs $215 on Amazon Marketplace. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe present suite from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetrushka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n recorded in London with an unnamed orchestra in 1928, was Stravinsky’s \nfirst commercially released recording as a conductor. It finds him in \nstriking form, leading musicians who are clearly excited to play for \nhim. It also is a welcome opportunity to hear the composer conduct music\n from his original 1911 score, as his stereo version of the complete \nballet employs his 1947 revision, which Nicolas Slonimsky referred to as\n a “self-mutilation.” Whether Stravinsky prepared the revision out of \nconviction or the desire to finally have the ballet copyrighted, we may \nnever know. It seems a gray area to me. The present suite has numerous \nexcisions from the complete version, most notably Petrushka’s death and \nreappearance as a ghost. Instead, the suite ends with “The \nMasqueraders,” providing a conclusion that has real instrumental punch, \nrather than pathos. Stravinsky’s performance is filled with passion and \nconsiderable dramatic understanding. Even the no-nonsense approach of \nPierre Boulez in his two recordings of the complete ballet sounds slack \nby comparison. “The Shrovetide Fair” offers a real feeling of \ngreasepaint, as all its participants are sharply characterized. In “The \nMagic Trick,” the solo flute seems to beckon to the audience at the \nfair. The “Russian Dance” blends folk music with wonderfully edgy \norchestral effects. “Petrushka’s Room” presents an astute psychological \nportrait of the tortured, misshapen doll, with the solo piano making a \nsuperb contribution. The dances in the evening at the fair are loaded \nwith color. We also are given the final five movements of Stravinsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePulcinella \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite,\n with the composer leading Paris’s Straram Orchestra. The performance \nmixes exuberance with a perhaps unexpected degree of warmth for the \nNeoclassical style of the composer. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eApparently the most famous anecdote \nabout Glazunov as a conductor is that he supposedly was drunk for the \ndisastrous premiere of Rachmaninoff’s First Symphony. It’s possible \nGlazunov viewed the symphony as being dangerously progressive, and \ncouldn’t face his task without being fortified with alcohol. I would \nnote that Glazunov, after leaving Russia, embarked on a conducting tour \nof the United States, managed by none other than Sol Hurok. The \nperformance we have here of his own music is masterful. José Serebrier \nhas written that the failure of Glazunov’s symphonies to achieve wide \npopularity is due to conductors not taking enough interpretive license \nwith expression. I disagree. What we hear on the composer’s own \nrecording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Seasons\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with a thoroughly captivated unnamed London orchestra, is an approach \nto conducting that is at once refined and direct. There is plenty of \nbeauty of tone color and phrasing, but never a gesture that seems \nextravagant. My favorite conductor of Glazunov today is not Serebrier \nbut Alexander Anissimov, whose approach is entirely more classical. As \nfor the popularity of Glazunov’s music, its patrician charm and lack of \nhistrionics probably make it unsuited to the admiration of the broader \npublic. One of my English professors, Robert Chapman, said to me, “We \nknow what the public likes. They like Dickens.” Glazunov is not Dickens.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAmong the high points of this recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Seasons\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n “The Ice” has the magic of a Russian Delibes. “The Snow” swirls and \ndances. “Spring” is verdant and luxuriant. In the “Waltz of the \nCornflowers and Poppies,” there is no influence of Tchaikovsky or Johann\n Strauss II’s waltzes, but rather a richness all Glazunov’s own. The \n“Petit Adagio” in “Autumn” marks the performance’s emotional climax, \nwith Glazunov achieving a glorious legato. Remastering engineer Mark \nObert-Thorn has left a lot of surface noise from all these 78s in his \nrestoration, which probably explains the rich colors he derives from the\n recordings. The “Bacchanale” in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Seasons \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n marred by a more shrill recording technique that most of the rest of \nthe performance, but it’s not too distracting. If you are looking for a \ncomplete stereo recording of the 1911 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetrushka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, I would recommend Ernest Ansermet’s, which I have on a Classic Records gold CD. For the entire \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePulcinella \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite, I like Salvador Mas Conde on Koch, while my preference in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Seasons \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n Evgeny Svetlanov and the Philharmonia. The combination of Stravinsky \nand Glazunov on one CD may be unusual, but the satisfaction derived from\n their recordings here is a unifying force. It’s a bit like the Chinese \ndinner with one from column A and one from column B, but if you \nappreciate such culinary options, this disc definitely is for you. \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 38:6 (July\/Aug 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC432.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStravinsky and Glazunov conduct their own Ballet music\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Stravinsky’s\n performance is filled with passion and considerable dramatic \nunderstanding ... The performance we have here of [Glazunov's] own music\n is masterful\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis release presents music from three Russian ballets premièred \nwithin the first two decades of the 20th Century, which reflect the \nenormous stylistic changes going on in music during the period.  Igor \nStravinsky began as an admirer of Glazunov, but soon set out on his own \ncourse with \u003cem\u003eThe Firebird\u003c\/em\u003e in 1910.  The following year saw the première of \u003cem\u003ePetrushka\u003c\/em\u003e, a work which the conservative elder composer characterized as “not music, but […] excellently and skillfully orchestrated.” \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eStravinsky made some never-published acoustic piano sides for the \nBrunswick label while on tour in America in 1925, but the present suite \nfrom \u003cem\u003ePetrushka\u003c\/em\u003e was his first issued recording.  Although the \nballet had, by that time, been recorded twice complete on eight sides by\n HMV (acoustically by Goossens, electrically by Coates, the latter on \nPristine PASC 304), Columbia opted to record only a suite on six sides. \n Missing from this version were the “Dance of the Ballerina” and most of\n the “Waltz: The Ballerina and the Moor” in Scene III, and “The Peasant \nand the Bear” (except for the opening bars) and “The Jovial Merchant \nwith Two Gypsy Girls” in Scene IV.  Like other concert versions of the \nballet, it ends with “The Masqueraders”, rather than with Petrushka’s \nfight, death, and ghostly reappearance.\u003c\/p\u003e\u003cp\u003eAfter this recording made in London, the focus of Stravinsky’s \nmicrophonic activities shifted for the next few years to Paris.  At the \ntail end of his 1928 \u003cem\u003eFirebird\u003c\/em\u003e Suite sessions (Pristine PASC 387), he recorded the last three selections from the suite to \u003cem\u003ePulcinella\u003c\/em\u003e,\n his ballet for orchestra and singers based on works by Pergolesi, which\n had marked the beginning of Stravinsky’s neoclassical period.  Four \nyears later, he returned to the work and recorded two more movements, \nbut did not record any further excerpts during the 78 rpm era.\u003c\/p\u003e\u003cp\u003eLike Stravinsky, Glazunov made his first recording in London; but \nunlike the younger composer, it was not to lead to a further series of \ndiscs.  In his memoirs, Columbia producer Joe Batten recalled the \u003cem\u003eSeasons\u003c\/em\u003e\n recording sessions under Glazunov’s direction:  “Here is a far too \nseldom played suite of happy music.  It was recorded at the old Portman \nRooms in Baker Street.  I shall never forget meeting him, tall, elderly,\n so ill and frail with gout and rheumatism that I wondered if he could \nstand the physical strain of three or four hours of intensive recording \n But he did and produced a performance of sheer beauty.” \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNone of the frailness described is evident in this energetic and \nstylish reading, but only some of the beauty survives on the issued \ndiscs.  Recorded over three sessions, at least two different engineering\n approaches were used:  one which favored a warm, bass-full sound, and \nthe other which was treble-oriented almost to the point of shrillness.  \nDespite its drawbacks, it remains invaluable as the only recording the \ncomposer ever made.\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were American Columbia pressings:  \n“Viva-Tonal” copies for the Glazunov; a “Full-Range” label edition for \u003cem\u003ePulcinella\u003c\/em\u003e; and a large label, post-“Viva” pressing with patches from a laminated French Columbia copy for \u003cem\u003ePetrushka\u003c\/em\u003e.\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\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e Petrushka – Ballet Suite (1911)\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003cb\u003eSymphony Orchestra  ∙  Igor Stravinsky\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecorded 27 – 28 June 1928 in London\u003cbr\u003eMatrix nos.: WAX 3867\/72\u003cbr\u003eFirst issued as Columbia L 2173\/5\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003ePulcinella – Ballet Suite (1920)\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003cb\u003eWalther Straram Concert Orchestra  ∙  Igor Stravinsky\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecorded 6 May 1932 \u0026amp; 12 November 1928 in the Studio Albert and Théâtre des Champs-Elysées, Paris\u003cbr\u003eMatrix nos.: WLX 1605\/6 \u0026amp; WLX 626\/7\u003cbr\u003eFirst issued on French Columbia LFX 289 \u0026amp; D 15126\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003eThe Seasons – Ballet in 1 Act, Op. 67 (1900)\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003cb\u003eSymphony Orchestra  ∙  Alexander Glazunov\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecorded 10, 13 \u0026amp; 14 June 1929 in the Portman Rooms, London\u003cbr\u003eMatrix nos.: WAX 5009\/10, 5014\/6 \u0026amp; 5022\/4\u003cbr\u003eFirst issued on Columbia LX 16\/8 \u0026amp; 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Macbeth of Mtsensk - 2 Arias\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMUSSORGSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSix Songs\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Rite of Spring\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo concert recording, 1962\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e*Download only - not on CD\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 91:42 (download); 67:42 (CD)\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGalina Vishnevskaya,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e soprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e \u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIgor Markevitch\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC493.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMarkevitch conducts the LSO at Edinburgh 1962 with Galina Vishnevskaya\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb live stereo recordings\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThis is the second in our short series of radio transcription recordings made by the BBC at the Edinburgh Festival of 1962. These concerts were not broadcast at the time but appeared on transcription discs, most likely aimed at the US radio market, which should have been destroyed after use. The announcements here suggest two programmes were intended. The concert  recording runs to nearly 92 minutes and is available in full in our download and streaming formats. We have had to cut the opening item, Tchaikovsky's Francesca di Rimini for this CD release in order to fit a single disc. Those buying the CD do of course get a free copy of the MP3 download which includes the Tchaikovsky and additional announcements not present on this disc. \u003c\/p\u003e\u003cp\u003eThe recording itself is in fine BBC stereo. XR remastering has served to bring out a rather light bass, especially in the Stravinsky, conveying much more of the power and intensity of the performance.    \u003c\/p\u003e\u003cp\u003e\u003ci\u003eAndrew Rose\u003c\/i\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\u003eRadio Introduction\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eFrancesca da Rimini (22:50)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSHOSTAKOVICH  \u003c\/b\u003eTwo Arias from Lady Macbeth of Mtsensk\u003c\/p\u003e\u003cp\u003eI Could See From My Window  (6:03)\u003cbr\u003eI Know a Lake in the Forest  (7:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMUSSORGSKY \u003c\/b\u003e(arr. Markevitch)  Six Songs\u003c\/p\u003e\u003cp\u003eCradle Song  (4:47)\u003cbr\u003eThe Magpie  (2:00)\u003cbr\u003eNight  (1:45)\u003cbr\u003eWhere art thou, little star?  (1:48)\u003cbr\u003e The Ragamuffin  (4:04)\u003cbr\u003eOn The Dnieper  (7:34)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGalina Vishnevskaya    soprano\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eThe Rite of Spring \u003cbr\u003ePart 1: Adoration of the Earth -  Introduction  (3:27)\u003cbr\u003eThe Augurs of Spring - Dances of the Young Girls  (3:01)\u003cbr\u003eRitual of Abduction  (1:23)\u003cbr\u003eSpring Rounds  (3:26)\u003cbr\u003eRitual of the River Tribes  (1:53)\u003cbr\u003eProcession of the Sage  (0:43)\u003cbr\u003eThe Sage  (0:23)\u003cbr\u003eDance of the Earth  (1:14)\u003cbr\u003ePart 2: The Sacrifice - Introduction  (3:31)\u003cbr\u003eMystic Circles of the Young Girls  (2:55)\u003cbr\u003eGlorification of the Chosen One  (1:36)\u003cbr\u003eEvocation of the Ancestors  (0:48)\u003cbr\u003eRitual Action of the Ancestors  (3:10)\u003cbr\u003eSacrificial Dance  (4:55)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra    Igor Markevitch\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003eXR remastering by XR remastering by Andrew Rose\u003cbr\u003e\u003cp\u003eCover artwork based on a photograph of Edinburgh\u003cbr\u003e\u003cbr\u003eLive concert recording, Edinburgh Festival\u003cbr\u003eUsher Hall, Edinburgh, August 26, 1962\u003cbr\u003e\u003cbr\u003eRecorded by BBC Transcription Services\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC493.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC493.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32639612109,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32639612173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32639612237,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC493_836e1dae-8901-42dc-a6af-f3337b6d25ca.jpg?v=1487924495"},{"product_id":"paco061-cd","title":"STRAVINSKY conducts Stravinsky: Perséphone (1957) - PACO061 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478080845,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478080909,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO061_9263c163-932d-43cb-a18f-7911efad324c.jpg?v=1658482305"},{"product_id":"pasc496","title":"STRAVINSKY Rarities (1916-1938) - PASC496","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Firebird\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetrushka\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Music\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFugue in C minor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1916-1938\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:57\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBeecham Symphony Orchestra ∙ Sir Thomas Beecham\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Albert Hall Orchestra ∙ Sir Eugene Goossens\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin State Opera Orchestra ∙ Oskar Fried\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIgor Stravinsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoulima Stravinsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC496.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv align=\"center\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 24px;\"\u003eRare and Previously Unissued recordings of and by Stravinsky\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\u003cdiv align=\"center\"\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eA remarkable archive of recordings in fabulous new transfers\u003c\/span\u003e\u003c\/i\u003e\u003c\/div\u003e\u003cdiv align=\"center\"\u003e\u003cbr\u003e\u003c\/div\u003e\u003cp\u003e\n    The present program brings together several première recordings of works by\n    Stravinsky as well as some first releases, including the composer’s\nearliest extant discs and the first attempt to record    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e. Along with other recordings which have already\n    appeared on Pristine, this release also completes the reissue of all\n    acoustically-recorded Stravinsky orchestral works.\n\u003c\/p\u003e\u003cp\u003e\n    Early in his career, Sir Thomas Beecham was noted for his championing of\n    such cutting-edge music as Strauss’ \u003cem\u003eSalome\u003c\/em\u003e. It is not surprising\nin this context that he recorded excerpts from Stravinsky’s    \u003cem\u003eFirebird\u003c\/em\u003e a mere six years after its première. As in all of the\n    acoustic recordings presented here, the reduced forces and balance dictated\n    by distance from the recording horn allow us to hear, intentionally or not,\n    inner voices that are not generally noticeable. The sound on the original\n    disc has a remarkable amount of detail for a recording that is now over a\n    century old.\n\u003c\/p\u003e\u003cp\u003e\n    At a time when even major symphonies were still being recorded in heavily\ncut versions, it is remarkable that Eugene Goossens was allowed to record    \u003cem\u003ePetrushka\u003c\/em\u003e complete. The sequence of matrix numbers suggests that\n    originally, only four sides comprising Tableaux 1 and 4, concluding with\n    the concert ending, were contemplated, but that another four were added to\n    complete the set a month after the initial session.\n\u003c\/p\u003e\u003cp\u003e\n    Further acoustic versions of the \u003cem\u003eFirebird\u003c\/em\u003e Suite followed Beecham’s\n    – first, from Albert Coates (of the 1911 arrangement, on PASC 303), then\n    from Leopold Stokowski (the familiar 1919 version, on PASC 192). Oskar\n    Fried’s late acoustic version from 1925 differs from his electrical remake\n    of three years later (PASC 392) by a much faster tempo taken in the\n    Introduction – a choice not dictated by 78 rpm side timing limitations, as\n    the final side, running over four and a half minutes, proves.\n\u003c\/p\u003e\u003cp\u003e\n    Philip Stuart’s Stravinsky discography mentions that the composer’s first\n    recording was of his Octet, made privately in 1923; it was never released,\n    an all test pressings are lost. His next attempt was made for the Brunswick\n    company two years later during an American tour. Four sides were recorded\n    of Stravinsky playing his solo piano works; but, coming at the very end of\n    the acoustic era, they were never released.\n\u003c\/p\u003e\u003cp\u003e\n    Stravinsky kept his test pressings, and a tape copy of them has circulated\n    which was the basis of this restoration. Some of the originals are in\n    fairly good condition, but others are dire, indeed (particularly Side 3).\n    The fourth side must have had a chip broken off affecting half of the disc;\n    it fades up on the second of three selections. They are presented for the\n    sake of archival completeness. Brunswick allotted a separate matrix number\n    for each take; and since we do not know the take used for each transfer,\n    all of them have been listed here.\n\u003c\/p\u003e\u003cp\u003e\n    Stokowski made the first attempt at recording \u003cem\u003eThe Rite of Spring\u003c\/em\u003e\n    in April, 1927. Three sides were taken down, and the recording ledgers\n    indicate these were done for test purposes only and not intended to be\n    released. The differences with his 1929\/30 issued recording are striking,\n    with much faster tempos being favored here.\n\u003c\/p\u003e\u003cp\u003e\n    The final selection shows Stravinsky in a rare role as interpreter of\n    another composer’s music. This Mozart duet with his son, Soulima, the\n    filler side to their set of Stravinsky’s Concerto for Two Solo Pianos, was\n    recorded in 1938 but not released until 1951 and never “officially”\n    reissued on CD.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\n    Mark Obert-Thorn\u003c\/i\u003e\n\u003c\/p\u003e\u003cdiv align=\"left\"\u003e\n\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003e The Firebird – Suite (1911 version – excerpts)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    1 Dance of the Firebird (1:07)\n\u003c\/p\u003e\u003cp\u003e\n    2 Game of the Princesses with the Golden Apples (2:28)\n\u003c\/p\u003e\u003cp\u003e\n    3 Infernal Dance of all Kaschei’s Subjects (3:47)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBeecham Symphony Orchestra ∙ Sir Thomas Beecham\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded April or May, 1916 in the Columbia Petty France Studios, London\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: 6797-1 \u0026amp; 6799-1 (Columbia L 1040)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003ePetrushka\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    4 First Tableau: The Shrovetide Fair (8:18)\n\u003c\/p\u003e\u003cp\u003e\n    5 Second Tableau: Petrushka’s Room (3:30)\n\u003c\/p\u003e\u003cp\u003e\n    6 Third Tableau: The Moor’s Room (6:19)\n\u003c\/p\u003e\u003cp\u003e\n    7 Fourth Tableau: The Shrovetide Fair (Toward Evening) (12:10)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRoyal Albert Hall Orchestra ∙ Sir Eugene Goossens\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1923 \u0026amp; 15 January 1924 in Rooms 1 \u0026amp; 2, HMV\n    Studios, Hayes\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: Cc 4013-1, 4014-4, 4077-2, 4078-1, 4079-3, 4015-2, 4016-2\n    \u0026amp; 4080-2\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    (HMV D 853\/6)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Firebird – Suite (1919 version)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    8 Introduction (2:07)\n\u003c\/p\u003e\u003cp\u003e\n    9 Dance of the Firebird (1:06)\n\u003c\/p\u003e\u003cp\u003e\n    10 Round Dance of the Princesses (4:09)\n\u003c\/p\u003e\u003cp\u003e\n    11 Infernal Dance of all Kaschei’s Subjects (3:45)\n\u003c\/p\u003e\u003cp\u003e\n    12 Lullaby of the Firebird (Berceuse) (2:34)\n\u003c\/p\u003e\u003cp\u003e\n    13 Finale (2:12)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBerlin State Opera Orchestra ∙ Oskar Fried\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 1925 in Berlin\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: 1917 ½ as, 1930 ½ as, 1931 as \u0026amp; 1938 ½ as\n    (Grammophon\/Polydor 6977\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e6\/7)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    14 \u003cstrong\u003eAndantino (No. 1 from Les cinq doigts)\u003c\/strong\u003e (0:52)\n\u003c\/p\u003e\u003cp\u003e\n    15 \u003cstrong\u003eModerato (No. 5 from Les cinq doigts)\u003c\/strong\u003e (0:44)\n\u003c\/p\u003e\u003cp\u003e\n    16 \u003cstrong\u003eAllegro (No. 2 from Les cinq doigts)\u003c\/strong\u003e (1:14)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15131 or 15132 or 15133 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    17 \u003cstrong\u003eLarghetto (No. 4 from Les cinq doigts)\u003c\/strong\u003e (1:25)\n\u003c\/p\u003e\u003cp\u003e\n    18 \u003cstrong\u003eLento (No. 6 from Les cinq doigts)\u003c\/strong\u003e (0:52)\n\u003c\/p\u003e\u003cp\u003e\n    19 \u003cstrong\u003eVivo (No. 7 from Les cinq doigts)\u003c\/strong\u003e (0:53)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15134 or 15135 or 15136 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    20 \u003cstrong\u003ePesante (No. 8 from Les cinq doigts)\u003c\/strong\u003e (1:13)\n\u003c\/p\u003e\u003cp\u003e\n    21 \u003cstrong\u003eValse (No. 2 from Three Easy Pieces)\u003c\/strong\u003e (1:44)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15137 or 15138 or 15139 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    22 \u003cstrong\u003eValse pour les enfants (fragment)\u003c\/strong\u003e (0:26)\n\u003c\/p\u003e\u003cp\u003e\n    23 \u003cstrong\u003ePolka (No. 3 from Three Easy Pieces)\u003c\/strong\u003e (1:01)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 March 1925 in Brunswick Studio No. 2, New York City\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: 15140 or 15141 or 15142 or 15143 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eIgor Stravinsky (piano)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Rite of Spring\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    24 Part I: The Adoration of the Earth (beginning) (9:22)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 April 1927 in the Academy of Music, Philadelphia\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix nos.: CVE 37471-1, 37472-1 \u0026amp; 37473-1 (Previously unpublished)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    25 \u003cstrong\u003eMOZART: Fugue in C minor, K426\u003c\/strong\u003e (4:39)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e Igor Stravinsky and Soulima Stravinsky (pianos)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 February 1938 in the Pathé-Marconi Studios, Paris\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    Matrix no.: CLX 2043-1 (Columbia LFX 953)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\u003cp\u003e\n    Special thanks to Peter Bay, Michael Gartz, Edward Johnson, Richard Kaplan\n    and David Schmutz for providing source material\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    Total Timing: 77:57\u003c\/p\u003e\u003cp\u003e\n\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\/PASC496.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC496.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine 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in plastic sleeve (+MP3)","offer_id":40478174157,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC379_c78fd5de-3259-4e90-87bc-bdb373d4302f.jpg?v=1658309177"},{"product_id":"pasc379","title":"STOKOWSKI in Philadelphia, 17 December 1962 - PASC379","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude to Act 3 of Lohengrin\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAlborada del Gracioso\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetrushka Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVARIOUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo in 1962\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:20 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI wonder if anyone uses Morse Code anymore. When I\n was very young I, at least, knew the signals for the letters S, O, and \nV. The V signal was “dot-dot-dot-dash,” coincidentally the same pattern \nas the opening notes of Beethoven’s Fifth Symphony. Bruno Walter \nrecorded the symphony with the New York Philharmonic a week after the \nU.S. entered World War II and Columbia Records issued the album with a \nbright red cover displaying a large white “V” with the \n“dot-dot-dot-dash” symbols under it. I guess anyone who saw the cover \ngot the message—Beethoven had been enlisted in the fight against fascism\n and the Fifth had become the “Victory Symphony.” That was the recording\n on which I learned the piece. Years ago, many conductors used to \nemphasize the “fate knocking at the door” image of the introduction by \ntaking it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolto pesante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e instead of the straight \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that the score calls for. I’ve never been able to make up my mind which\n way I prefer to hear it performed. I like hearing the opening done \nemphatically but when it’s done at a slower tempo than the exposition, \nit can sound like it starts on a downbeat and distorts the rhythmic \npattern instead of emphasizing it. Stokowski, not surprisingly, was one \nof the conductors who really dramatized the opening, both on his 1931 \nrecording with the Philadelphia Orchestra and, nearly a decade later, \nwith the All-American Youth Orchestra. I happen to be very fond of both \nof those recordings so, in this live performance, recorded at \nPhiladelphia’s Academy of Music in 1962, one with the same virtues as \nthe previous ones, he could be said, at least in my case, to be \npreaching to the choir, although I’ve never heard his 1969 recording. It\n has been the recent fashion for conductors to stick closely (or try to)\n to Beethoven’s metronome markings, observe all the repeats in the \nscore, and sometimes, even use instruments based on those of Beethoven’s\n time. Unfortunately, many of these conductors are neither individually,\n nor collectively, Stokowskis.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe opening radio announcement by the orchestra’s associate conductor, William R. Smith, includes Revueltas’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Given the CD’s 79-minute length, something had to give, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n can be downloaded free from Pristine’s website. What’s included on the \nCD is interesting enough. I wonder if those in attendance could even \nimagine the circumstances surrounding the symphony’s first performance \nback in 1808. Beginning with the premiere of the Sixth Symphony, the \nprogram continued with “Ah, perfido,” The Gloria from the Mass in C, the\n Piano Concerto No. 4, the Symphony No. 5, the Sanctus and Benedictus \nfrom the Mass in C, and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChoral Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e! They don’t make audiences like they used to.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis concert begins with a lively performance of the Prelude to act III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNie sollst Du mich befragen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n theme added to the ending. Since so many conductors add this, I assume \nit was Wagner’s decision to use it as a concert ending since, in the \nopera itself, the Prelude fades down directly into the opening music of \nthe act. Next, comes the principal (or certainly, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003elongest\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n work on the program, Beethoven’s Fifth Symphony. Stokowski offers an \nunhurried view of the music but the playing has plenty of rhythmic \nspring and textual clarity in addition to the juicy tone the orchestra \ncould produce 50 years ago. I think this is the first time I could \ndescribe a performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n as “sensuous.” Fate doesn’t knock at the door quite as deliberately \nthis time around and the performance, unless you are offended by some \nstretched cadences, is hardly eccentric. The string playing has plenty \nof bite to it, too. His tempos, at least in the first three movements \nare quite similar to Otto Klemperer’s though of course, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n performance, austere and weighty, inhabits a different sound world. \nTake away Klemperer’s observation of the outer movement repeats (neither\n taken by Stokowski) and you get these timings: I—Klemperer 7:12, \nStokowski 6:53; II—Klemperer 11:08, Stokowski 11:15; III—Klemperer 6:13,\n Stokowski 6:07. I do think that Klemperer’s finale could use more \nanimation because, even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eomitting\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the repeat, his performance times out at 10:53 to Stokowski’s 9:00. The\n latter’s has a more triumphant surge than Klemperer’s sober, monumental\n approach. If your tastes lie with even slower tempos, try to find \nFerenc Fricsay’s Berlin Philharmonic recording; I might as well provide \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n timings (omitting the first movement repeat, which he observes—like \nmost conductors, he ignores the one in the last movement): 7:29, 13:15 \n(!), 6:23, 9:30. I like the performance quite a bit but it may be a bit \nmuch for most listeners.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStravinsky eventually made a suite from his complete score for\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Petrouchka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n consisting of music from the First, Second, and Fourth Tableaux with a \nconcert ending replacing the final few minutes. It runs a bit under 25 \nminutes. I don’t know if that is an “official” edition of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetrouchka Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n since Stravinsky made two recordings of it, one of which (1940) uses \nless music from the First Tableau and starts about a minute into the \nFourth Tableau. I suspect that, on that occasion, Stravinsky was hemmed \nin by the limited length of 78 RPM sides. Stokowski, using a similarly \nabbreviated edition, starts his excerpt from Tableau No. 1 at a more \nlogical spot and starts the Fourth Tableau at the beginning. Granted, \nwhether in suite or complete form, the colorful, characterful music \nvirtually plays itself and it’s difficult to do a bad performance. \nConductors like Stokowski and Dimitri Mitropoulos relish the score’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egrotesquerie\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n more than most of their colleagues, to considerable effect. Since the \ncomplete score runs only about 10 minutes longer than the (official?) \nsuite, I wonder why conductors don’t just perform the whole thing. After\n hearing him conduct a performance of the suite, I asked Stravinsky why \nhe didn’t just conduct the entire piece and, for what it’s worth, he \ncomplained about a lack of rehearsal time.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski and the orchestra polish off the virtuoso theatrics of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlborada del gracioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the playful, tricky rhythms of Morton Gould’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGuarancha\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the third movement of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLatin-American Symphonette.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e The Jeremiah Clarke \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Prelude \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(formerly known as Purcell’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Voluntary\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n is presented with stately dignity and Stokowski somehow turns \nRachmaninoff’s very pianistic Prelude in C♯-Minor into an effective \norchestral piece. The concert comes to a decisive conclusion as the \nplayers gradually stroll off stage during the finale of Haydn’s \n“Farewell” Symphony to occasional chuckles from the audience. Basing his\n decision, in part, on Stokowski’s personal preferences, the producer \nhas enriched the normally dry sound of the Academy of Music with some \ndiscreet resonance. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC379.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStokowski in Philadelphia, December 1962 - one of his finest Beethoven 5ths and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eAnother 24-96 ultra high-resolution transfer and download direct from Stokowski's own master tapes\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski's long association with The Philadelphia Orchestra began in 1912 when, at the age of 30, he gave his first concert in the city with the orchestra. He stayed in Philadelphia for almost thiry years, handing over to Eugene Ormandy at the end of the 1940-41 season. However, Stokowski returned in 1960 as a guest conductor and continued a series of occasional concerts with the orchestra in the years which followed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe present concert, which took place on 17 December 1962, is taken from broadcast master tapes originally held in the conductor's own archives, and supplied for transfer for this release by Edward Johnson, who for many years put great efforts into the running of the Stokowski Society, and who obtained a number of recordings from Stokowski's assistant, Jack Baumgarten. This is its first public issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs with the earlier concert from the same year (16 March 1962, issued as PASC372), we took the unusual step in preparing this release of making all transfers and restoration at a very high sampling rate of 96kHz in order to preserve the highest frequencies captured on tape. Although these exceptionally high frequencies cannot be reproduced on CD, they are available in a 24\/96 FLAC download from our website.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eRemastering took heed of Stokowski's frequent instruction to producers of his recordings. He liked a full and reverberant sound, as Edward Johnson explains: \"The thing to remember with Stokowski is that he started life as a church organist and in his recitals usually played orchestral works transcribed for the organ. So when he became a conductor he recalled the days when he had his feet on the deep 32' pedals and heard the final chord of the piece dying away down the nave for a couple of seconds. Consequently, his correction notes to record producers always asked for \"more lows\" and \"more reverberation,\" as in the example attached to the producer of his LP of the \"The Planets.\"\" [Letter reproduced \u003ca href=\"http:\/\/www.pristineclassical.com\/pasc372.html\"\u003ehere\u003c\/a\u003e] I have been careful in my application of this, using a convolution reverb of one of the world's great symphony halls to give the recording the space and texture lacking in the original radio tapes.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe December concert has at its heart a stirring performance of Beethoven's Symphony No. 5, but elsewhere Stokowski conducted a considerable chunk of 20th Century music. One piece, Revueltas's Sensemaya, which was played between the Ravel and Stravinsky, proved too long to fit onto this CD. It is, however, available to download for free here on our website and is featured as a bonus track in our FLAC downloads.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe concert featured a number of encores, including a couple of arrangements by Stokowski himself. The finale to the concert brings a light-hearted close to a concert which was put on as a fundraiser for the orchestra's pension fund, and conveys a sense of real warmth between the musicians and their audience.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Prelude to Act 3 of Lohengrin\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e \u003c\/strong\u003e (\u003cem\u003earr. Ravel\u003c\/em\u003e) Alborada del Gracioso (from \u003cem\u003eMiroirs\u003c\/em\u003e) \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eSTRAVINSKY \u003c\/strong\u003e\u003c\/strong\u003ePetrushka Suite\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003eENCORES\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCLARKE\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Trumpet Prelude (\u003cem\u003ePrince of Denmark's March\u003c\/em\u003e) \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOULD\u003c\/strong\u003e Guaracha \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Prelude in C sharp minor \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eHAYDN \u003c\/strong\u003e\u003c\/strong\u003eSymphony No. 45 in F sharp minor, \"Farewell\": Finale from 4th mvt \u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003e BONUS TRACK\u003c\/strong\u003e Included in all FLAC downloads\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVUELTAS\u003c\/strong\u003e Sensemaya\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Transfers from tapes compiled for Leopold Stokowski from the collection of Edward Johnson \u003cbr\u003e Recorded at the Academy of Music, Philadelphia, 17 December 1962, for broadcast by WFLN-FM\u003cbr\u003e Broadcast producer and announcer: William Smith\u003cbr\u003e Broadcast sound engineer: Fred Chassey \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe Philadelphia Orchestra\u003cbr\u003e Leopold Stokowski\u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, January-February 2013\u003cbr\u003e Cover artwork based on a photograph of Stokowski in Philadelphia, 1960\u003cbr\u003e \u003cbr\u003e Total duration: 79:20 \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\/PASC379.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC379.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":34192980685,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34192980877,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34192980941,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC379.jpg?v=1489682848"},{"product_id":"pasc387","title":"STRAVINSKY conducts his first recordings of The Rite of Spring \u0026 The Firebird Suite (1928\/29) - PASC387","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Rite of Spring\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirebird Suite (1911 version)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1928\/29\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 60:35 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Walther Straram Concerts Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Igor Stravinsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fObert-Thorn and Pristine have done the impossible: this CD is not only listenable, but an effective presentation of a performance which captures much of the excitement of the score578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese were Stravinsky’s first orchestral recordings of these works, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Suite (a conglomerate of the 1911 and 1919 scores) in November 1928 and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in May 1929, both by French Columbia in the Théâtre des Champs-Elysées.\n This Mark Obert-Thorn production supplies complete discographic \ndetails. The orchestra in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Suite was unaccredited but is believed to be the Straram Orchestra that made the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e recording (per Obert-Thorn).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith such an early electrical recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n we expect the worst, and this one has sounded that way in the past. \nObert-Thorn and Pristine have done the impossible: this CD is not only \nlistenable, but an effective presentation of a performance which \ncaptures much of the excitement (if none of the beauty) of the score. \nDespite the orchestra’s many difficulties, the music blazes away, \nalthough some passages do make the listener squirm. Certain details \nemerge well: the bass clarinet parts in the introduction come across \nbetter here than in many digital stereo recordings, and the off-beat \nchords in “Danses des adolescents” have plenty of punch (at a deliberate\n tempo). Listening to this performance makes one question more than ever\n the consensus opinion that the young Stravinsky was a poor conductor: \nIn an era when every conductor and every orchestra had enormous \ndifficulties playing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Sacre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n this is a vital, creditable performance. The playing is often strained,\n raw, harsh, and imprecise, but that suits the music better than some of\n the silken, glossy run-throughs we hear today from such great ensembles\n as the Concertgebouw and the Los Angeles Philharmonic. An important \nhistorical artifact has now become a fascinating performance to hear.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMESi\"\u003eThe Firebird\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e does not \nfare as well. The playing is rough and awkward where it should be silky,\n and the reproduction of the strings is unbearably tinny, gritty, harsh,\n and shrill. One must state the obvious: that it is good to have a \nrepresentation of the composer’s first go at an orchestra \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eon disc, but none of us will ever listen to it a second time. Try his earlier piano roll recording of the complete ballet. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames H. North  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC387.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStravinsky's first recordings of his Rite of Spring and Firebird Suite\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eHistoric 1928\/29 recordings finally returned to the catalogue in brilliant new transfers\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e by Mark \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eObert-Thorn \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eIgor Stravinsky’s career as a recording artist began in 1925 with a series of acoustic piano solo sides for American Brunswick which were never released. His first issued records were made by Columbia in London, a \u003cem\u003ePetrushka\u003c\/em\u003e Suite recorded in June of 1928. Five months later, Columbia’s French affiliate recorded the \u003cem\u003eFirebird\u003c\/em\u003e Suite presented here, with an uncredited ensemble believed to be the Walther Straram Concerts Orchestra. Stravinsky chose to record the 1911 version with the addition of the Berceuse and Finale from 1919 (although the bridge linking them is missing), as well as interpolating the trombone glissandi from the 1919 version in the Infernal Dance. The present composite version gives a more fully rounded picture of the action of the ballet and the fairy-tale aspects of the plot.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhile the \u003cem\u003eFirebird\u003c\/em\u003e Suite and even the complete \u003cem\u003ePetrushka\u003c\/em\u003e had already been recorded more than once before Stravinsky made his own versions, \u003cem\u003eThe Rite of Spring\u003c\/em\u003e had a longer gramophonic gestation. The first attempt was in April, 1927, when Leopold Stokowski set down the first three sides of an aborted complete recording with the Philadelphia Orchestra. Extant test pressings suggest the ensemble had not played the piece for awhile, as the execution is uncharacteristically scrappy. Sixteen months later, portions of the work were set down during an August, 1928 rehearsal with Eugene Goossens leading the Hollywood Bowl Orchestra as part of a balance test that eventually saw publication on CD.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, the first two complete recordings of the work were made in Paris in 1929. Pierre Monteux, the conductor of the 1913 première, recorded it for French HMV in January (on Pristine PASC 219), while the composer set down his version for French Columbia that November. In the meantime, Stokowski had begun his issued recording in September, 1929, although it would not be completed until the following March. These three would become the only recordings of the work through the end of the 1930s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhile Stravinsky’s ensemble is less precise, and his direction is less assured, than in his 1940 remake with the New York Philharmonic, the recording affords a valuable glimpse of how the composer approached this epoch-making work a mere sixteen years after its première, before familiarity and rising orchestral standards smoothed out the rawness experienced by the outraged opening night audience in Paris a century ago.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were first edition American Columbia “Viva-Tonal” pressings. Pitch fluctuations inherent in the original recordings have been corrected in this edition.\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\u003eSTRAVINSKY\u003c\/strong\u003e The Rite of Spring (\u003cem\u003eLe sacre du printemps\u003c\/em\u003e)\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 7 – 10 May, 1929 in the Théâtre des Champs-Elysées, Paris \u003cbr\u003e Matrix nos.: WLX 1027-1, 1028-1, 1029-3, 1030-3, 1031-2, 1032-1, 1033-2, 1034-2, 1035-1 and 1036-1 \u003cbr\u003e First issued on French Columbia D 15213 through 15217\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e \u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cbr\u003e Recorded 8 – 10 and 12 November, 1928 in the Théâtre des Champs-Elysées, Paris \u003cbr\u003e Matrix nos.: WLX 611-2, 612-2, 619-1, 620-1, 624-2, 625-1, 621-1 and 623-3 \u003cbr\u003e First issued on French Columbia D 15122 through 15125\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Walther Straram Concerts Orchestra\u003cbr\u003e Igor Stravinsky \u003c\/strong\u003e conductor\u003c\/span\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Additional pitch stabilisation: Andrew Rose\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 60:35 \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\/PASC387.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC387.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":34257560909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34257560973,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC387_922fe595-7602-4c9a-a7b4-07c26848a080.jpg?v=1489744332"},{"product_id":"pasc387-cd","title":"STRAVINSKY conducts his first recordings of The Rite of Spring \u0026 The Firebird Suite (1928\/29) - PASC387 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478179213,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478179277,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC387_a18d1c03-8cc2-41cc-b2c3-fc3b9561b630.jpg?v=1658309381"},{"product_id":"pasc392","title":"OSKAR FRIED conducts Rimsky-Korsakov, Stravinsky, Liszt (1928) - PASC392","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes Préludes\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Scheherazade\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Firebird – Suite (1919 Version)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1928\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:16 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOskar Fried, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere was more sound in those shellac grooves than we realized years ago. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAn admirer of Mahler, who made the first recording\n of a Mahler symphony, Oskar Fried was an important conductor in the \nGermany of the teens and 1920s but had to flee Germany when the Nazis \nattained power. He was sufficiently celebrated that he supposedly made a\n silent film during which he conducted the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonie fantastique, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n purpose of which was apparently to enable orchestras of the future to \nbe “conducted” by him. Unhappily, the film, if it existed, was lost. \nUnlike so many of his colleagues who escaped Nazism by fleeing West, \nFried fled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEast\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, \nto the Soviet Union, where he had already conducted with some success, \nafter which, he seems to have stopped making recordings and pretty much \ndisappeared from Western consciousness. His recordings suggest that he \nwas a strong podium personality with a taste for drama. Witness the \nthree above-listed recordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere’s some surface noise at the outset of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Préludes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n but it will disappear as you become absorbed by the performance. \nAlthough the fast middle section is whipped-up into such a froth that \nthe orchestra can barely articulate it, most of the performance moves \nalong at a conventional tempo, punctuated by subtle tempo shifts and \nstretched cadences. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScheherazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite,\n as it happens, are right up his alley. Perhaps the winds might have \nbeen more closely recorded but that would be my only complaint, given \nthe patient way he builds “The Sea and Sinbad’s Ship” and the delicate \ntouch he exhibits in parts of “The Tale of the Kalendar Prince.” I would\n prefer a slower tempo for “The Young Prince and the Young Princess,” \nwhich comes off as too bouncy and “sing-songy” the way he takes it. \nThere is some congestion in loud passages but the harp, snare drums, and\n other percussion instruments come through nicely. His fiery “Festival \nat Bagdad” does not disappoint. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite,\n considering its 1928 vintage, features a remarkable display of colors, \nand Fried creates the desired air of mystery at the beginning. The Rondo\n is slow and somewhat milked for effect, but he makes up for lost time \nwhen he rips into the “Infernal Dance.” The “Lullaby” and Finale are \nwell-judged and, as in the rest of the recording, the dynamic range is \nsurprising. For some odd reason, he makes a four-bar cut toward the end,\n just before the full orchestra chimes in. Although these recordings \ndon’t pretend to be a substitute for more recent ones, they probably \nsound better now on modern equipment, given sensitive editing, than they\n ever did when they were new. There was more sound in those shellac \ngrooves than we realized years ago. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC392.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eFabulous early electrical recordings of Oskar Fried and the Berlin Philharmonic\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"they all live happily. So shall we, whilst we have these ripe memories of Stravinsky at his best\" - The Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eThe sources for the present transfers were German Polydors for the Liszt and Stravinsky works and laminated American Brunswicks for \u003cem\u003eScheherazade\u003c\/em\u003e. The violin soloist in the last work is not identified on the original labels but is probably the Danish-born Henry Holst, who was the BPO’s concertmaster from 1923 to 1931 before he emigrated to the UK, where later he became the first violinist in the Philharmonia Quartet.\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eLISZT  Les Préludes, S97\u003c\/strong\u003e\u003cbr\u003eMatrix nos.: 1341 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1342 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1343 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e \u0026amp; 1344 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e\u003cbr\u003eFirst issued on Polydor 66812 and 66813\u003c\/p\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRIMSKY-KORSAKOV Scheherazade, Op. 35 \u003c\/strong\u003e\u003cbr\u003eMatrix nos.: 1359 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1360½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1361 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1362 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1363½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1364½ bm, 1365 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1366 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1387½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e, 1388½ bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e \u0026amp; 1389 bm \u003cspan style=\"font-size: small;\"\u003eI\u003c\/span\u003e)\u003cbr\u003eFirst issued on Polydor 95187 through 95192\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eSTRAVINSKY The Firebird – Suite (1919 Version) \u003c\/strong\u003e\u003cbr\u003eMatrix nos.: 854 bm, 855 bm, 853½ bm \u0026amp; 856 ½ bm\u003cbr\u003eFirst issued on Polydor 95052 and 95053\u003c\/p\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eBerlin Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eOskar Fried \u003c\/strong\u003econductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Oskar Fried\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eSpecial thanks to Richard Kaplan for providing source material\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 75:16 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC392.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC392.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW - \u003c\/strong\u003eSTRAVINSKY The Firebird - Suite\u003c\/p\u003e\u003cp\u003e\nThe first record contains the Fire Bird’s dance, and that of the princesses; the second, the \u003cem\u003eInfernal Dance\u003c\/em\u003e, \u003cem\u003eCradle Song\u003c\/em\u003e\n and Finale. Who will write the Russian Ballet music so subtly to the \npurpose as this? Now that there is so much interest in ballet, so many \nbooks about it, we need the composers. All very well to adapt the \nclassics, but where are the Stravinskys of the day ? It is difficult to \nrealise that this music is a quarter of a century old. The ogre \nKastchei’s chromatic growls open: evil shapes lurk in the magic garden, \nwhere the firebird flits, pursued by Prince Ivan, we are to understand. \nIts flame-like feathers, its shining eyes, light up the garden by night.\n It plucks the golden apples (which, in one version of the legend, \nbestow youth and beauty). We remember that the bird, in gratitude for \nIvan's setting her free, gives him a feather, which shall call her to \nhis aid, at need. The second side shows the captive princesses playing \nwith the apples, forgetting for a while their durance. The record paints\n their dainty shyness exquisitely: the lightness, and the pastel \ncolouring, are most charming. Ivan falls in love with one of them. On \nthe third side, the princesses have returned to their captivity, and the\n ghouls and ogres of Kastchei flock around the impudent fellow who has \ninvaded their realm. This is where we need to see the ballet. Ivan calls\n the firebird by waving its feather, and it begins to dance; mesmerised,\n the servants of the ogre join in. When they are exhausted, the bird \nlulls them to sleep with another dance (side 4); and the end comes, we \nare to imagine, with Ivan’s destroying the casket which contains \nKastchei’s soul. Thereupon his power is dead, and his captives come to \nfree life again; and Ivan marries his princess, who is the Tsar’s \ndaughter; and they all live happily. So shall we, whilst we have these \nripe memories of Stravinsky at his best. The last record welcomes a \nsteel needle, but the delicacies of the others win me best by fibre.\u003cbr\u003e\u003cbr\u003e\n\u003cstrong\u003eW.R.A., The Gramophone\u003c\/strong\u003e, July 1936\u003cbr\u003e \u003cem\u003eReview of Decca-Polydor UK issue, CA8235-6\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34276238477,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34276238541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC392_89cb7e67-d60a-470e-b597-f20d091b1cd8.jpg?v=1489764501"},{"product_id":"pasc392-cd","title":"OSKAR FRIED conducts Rimsky-Korsakov, Stravinsky, Liszt (1928) - PASC392 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478182093,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478182157,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC392_0f7fb805-8ecd-4dfb-9039-de56c7d0d79e.jpg?v=1658309516"},{"product_id":"pasc219-cd","title":"MONTEUX The Early Recordings (1929\/30) - PASC219 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478198029,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478198093,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC219_763bc966-19e6-47fc-a0ea-65ac25efdf44.jpg?v=1658244160"},{"product_id":"pasc219","title":"MONTEUX The Early Recordings (1929\/30) - PASC219","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe sacre du printemps\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe petit poucet (Ma mère l’oye)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCOPPOLA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eInterlude dramatique\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHABRIER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFête Polonaise ( Le Roi malgré lui)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa valse\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1929 and 1930\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 62:27 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre Symphonique de Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePierre Monteux, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRecalling the first time he heard \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre du printemps\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e when Stravinsky played it for him on the piano, Pierre Monteux admitted, “I must admit I did not understand one note of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre du printemps\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n My one desire was to flee that room and find a quiet corner in which to\n rest my aching head.” Given the initial reaction of the conductor who \neventually led the premiere, is it surprising that many in the \nfirst-night audience found the piece baffling? One of the players in \nDiaghilev’s orchestra said he believed that some of the hostility was \ndirected at Nijinsky’s choreography, which seems to have resembled \ncalisthenics more than dancing. In any event, while Monteux was resting \nhis “aching head,” Diaghilev turned to him and said, “This is a \nmasterpiece, Monteux, which will completely revolutionize music and make\n you famous because you are going to conduct it.” In fact, Monteux ended\n up making suggestions about altering some of the orchestration, which \nStravinsky followed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eObviously, a recording, even if made nearly 16 \nyears later, by the conductor who led the premiere has an obvious \ninterest. Fortunately, we need not be satisfied with the dim sound of \nthis 1929 effort, since Monteux went on to record the music three more \ntimes and there are many “unofficial” recordings as well since Monteux, \nlike it or not, could not escape his association with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe sacre du printemps\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n in a way, Diaghilev was right. Obviously, it would be unfair to compare\n this pioneering effort with his later ones; what I did was measure it \nagainst Stravinsky’s first recording of the piece, made five months \nlater with the Straram Orchestra (billed, for contractual reasons, as \n“symphony orchestra”). Given the absence of dancers, I wonder if the \n1913 performance went at this tempo. I do not mean to suggest that this a\n particularly fast performance since it isn’t, but recordings suggest \nthat experienced ballet conductors often have a tendency to speed up \nwhen freed from the needs of the choreographer and his dancers.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn part 1, the original 78 surfaces are noisy but \none adjusts to it. The winds are dimmer than usual and more distant. I \nsuggest that listeners turn up the volume to enhance the experience. The\n timpani are muffled though clearer than they are on Stravinsky’s \nrecording. In fact, this is the better of the two recordings in every \nway, for Monteux is obviously the more proficient conductor and has been\n more fortunate in his technical team. Nevertheless, the recording \nexposes or emphasizes some odd details that one may not have noticed in \n“better” recordings and the 78s used for part 2 seem to have had better \nsurfaces. Monteux starts part 2 at a slower tempo than Stravinsky, \nobtaining a more mysterious atmosphere, but tempowise, there are not \nradical differences between him and the composer. I don’t regularly deal\n with Stravinsky’s music here, though I have been acquainted with it for\n years, so I’ll use this review to point out that, if I were looking for\n a “modern” recording, I would not choose one by Monteux or Stravinsky, \nthough both have given us perfectly good ones. My choices would be Igor \nMarkevitch’s mono and stereo recordings with the Philharmonia Orchestra \n(coupled on Testament), Markevitch’s with the London Symphony Orchestra,\n James Levine and the Met Orchestra, and Antal Doráti’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emono\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recording with the Minneapolis Symphony. That last one has, \nfortunately, been issued under “pirate” auspices and is well worth \ninvestigating.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMaybe better copies of the other pieces on the CD \nwere available, for what one hears on the rest of the CD is what one has\n come to expect from the best modern transfers—amazingly vivid sound, in\n this case, from 78s recorded in 1930. Monteux was the first conductor \nto record the entire \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMother Goose\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n ballet with the pieces in the correct order, including the interludes \nbetween them. It might have been interesting to hear how he would have \ndone it in 1930 but all we have here is one movement, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetite Poucet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with the solo winds close and clear. The fact that Piero Coppola was an\n A \u0026amp; R man as well as a conductor and composer may have had a lot to\n do with Monteux’s recording of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDramatic Interlude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a motor-driven piece in which Coppola demonstrates his mastery of the \nlanguage of the great Hollywood composers of the ’30s and ’40s. It’s no \ntrial to listen to and you might even come back for more if your tastes \nlie that way. The Chabrier is a vigorous, lilting performance—quite \nwonderful, though I wonder if its liveliness had anything to do with the\n length of the 78 sides. One might have similar questions about \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which zips along pretty fast as well, but it’s actually similar to his \nlater ones and speed does not preclude rhythmic flexibility (with \nMonteux, it never did). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:1 (Sept\/Oct 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC219.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eRare early recordings, including a complete 1929 Rite of Spring\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePierre Monteux \"bracing\" in Stravinsky, Ravel, Chabrier and Coppola\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003ePierre Monteux’ early recordings fall into three general categories: the Berlioz discs, including a complete Symphonie Fantastique; the three concerto recordings with Menuhin; and the rest, which are presented here. While the Menuhin recordings have rarely been out of print in one form or another since they first appeared and the Berlioz records have seen at least two CD reissues during the 1990s, the remainder have proven rather hard to come by. I am aware of only one previous CD reissue of the Stravinsky, Coppola and Chabrier items, and none at all of the two Ravel works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003ePart of the reason for this may have been due to the rarity of the original discs. Unlike the Menuhin recordings, which saw release throughout the world, or the Berlioz records which came out in America, the other recordings were only issued in France. Adding to their rarity are the difficulties involved in their transfer. None of them were released on particularly quiet shellac, and much of the original engineering was not state-of-the-art for the time. The volume levels of several of the recordings were adjusted downward as the recordings went along, requiring compensating increases on the part of the restoration engineer; and the recorded sound is sometimes rather raw and harsh.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMost problematic of all is Monteux’ first recording, the Stravinsky. Four of the eight sides were only issued as sonically-compromised “dubbings”. These were re-recordings made from the original metal discs or shellac pressings in order to decrease volume levels so that the discs would pass the “wear test”, particularly needed for the many loud passages in this work. Being copies of copies, dubbings had inherently inferior sound. They also had similar volume decrease problems, which I have attempted to mitigate by matching the dynamic extremes against Monteux’ 1956 Decca recording with the Paris Conservatoire Orchestra.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eNotwithstanding their many faults, these are bracing performances. It is a particular shame that La Valse and Sacre did not see the international release that the contemporaneous recordings by Koussevitzky and Stokowski had in the Victor\/HMV family of labels, because in both scores Monteux proves more vital than the other conductors’ comparatively restrained accounts. La Valse in particular has a wealth of characterful detail in the wind playing, coupled with an inexorable momentum that carries through to a shattering conclusion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e: Le sacre du printemps\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 23rd – 25th January, 1929 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos: CS 3172-1T1, 3175-1, 3176-1T1, 3177-2, 3178-2, 3186-1T1, 3173-2T1, and 3174-3\u003cbr\u003e First issued on Disque Gramophone W-1008 through 1011\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e: Le petit poucet (Ma mère l’oye) \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 3rd February, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix no.: CF 2842-2\u003cbr\u003e First issued on Disque Gramophone W-1108\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCOPPOLA\u003c\/strong\u003e: Interlude dramatique \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 3rd February, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos.: CF 2849-2 and 2850-1\u003cbr\u003e First issued on Disque Gramophone W-1108\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\u003eCHABRIER: \u003c\/strong\u003eFête Polonaise ( Le Roi malgré lui) \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 29th January, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos.: CF 2818-2 and 2819-1\u003cbr\u003e First issued on Disque Gramophone L-796\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRAVEL: \u003c\/strong\u003eLa valse \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 31st January, 1930 in the Salle Pleyel, Paris\u003cbr\u003e Matrix nos.: CF 2839-3, 2840-1 and 2841-2\u003cbr\u003e First issued on Disque Gramophone W-1107 and 1108\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e \u003cstrong\u003ePierre Monteux · Orchestre Symphonique de Paris\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Pierre Monteux\u003cbr\u003e\u003cbr\u003eTotal duration: 62:27 \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\/PASC219.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC219.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":34438260813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34438260877,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC219_bf47e5df-0665-4ec5-9190-fe8a3dad7a8c.jpg?v=1490019835"},{"product_id":"pasc284","title":"MEWTON-WOOD Stravinsky and Chopin: Piano Concertos - PASC284","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto for Piano \u0026amp; Wind Instruments\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHOPIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 2\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 in 1952 and 1948\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 51:23 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNoel Mewton-Wood, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNetherlands Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eZurich Radio 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;\"\u003eWalter Goehr\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fMewton-Wood is a pianist who demands investigation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eOccasional murmurings about the greatness of Noel Mewton-Wood \n                  (1922-1953), the Australian pianist who committed suicide at \n                  a tragically early age, swelled to an underground reputation \n                  when the British Music Society reissued his recording of the \n                  Bliss Piano Concerto (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2003\/Aug03\/Mewton-Wood_20thCconcertos.htm\"\u003esee \n                  review\u003c\/a\u003e). I have to confess I had not investigated his art \n                  before now. A brutally truncated career can give rise to all \n                  sorts of legends and I have yet to be convinced that Dino Ciani, \n                  for example, was more than just a very good pianist. On the \n                  strength of this Chopin I’d say Mewton-Wood was among the greatest \n                  of recorded pianists, his early death a loss on a level with \n                  that of Lipatti or Kapell. \u003cbr\u003e\n                  \u003cbr\u003e\n                  In Chopin his playing has great panache and passion, alternating \n                  effortlessly with moments of delicacy and of melting poetry. \n                  His tonal gradations and colouring in the gentler passages can \n                  be appreciated in spite of the problematic recording quality. \n                  His rubato is very free, yet without losing the rhythmic shape \n                  of the phrase. Similarly, his tempi change with a certain freedom \n                  but he never loses sight of the larger structure of the music. \n                  In this latter he is helped by the sympathetic direction of \n                  Walter Goehr. The Zurich orchestra is not always immaculate, \n                  but he invests the orchestral tuttis with unusual fire and warmth \n                  while giving Mewton-Wood full rein in piano-led episodes. Goehr \n                  seems entirely identified with the spirit of the pianist’s interpretation, \n                  he is not just accompanying. In some ways it could be said that \n                  Mewton-Wood was able to combine the old-style personalized approach \n                  with a more modern rigour. \u003cbr\u003e\n                  \u003cbr\u003e\n                  One of the finest-ever performances of this work put on disc, \n                  then, so what about the recording? \u003cbr\u003e\n                  \u003cbr\u003e\n                  Like most of Mewton-Wood’s recordings, it was made for the Musical \n                  Masterpiece Society, which notoriously cut economic corners. \n                  The technology was not of the best for its times and pressings \n                  were poor and noisy. This same performance can be downloaded \n                  freely from the site of \u003ca href=\"http:\/\/renegagnaux.ch\/185122\/index.html\" target=\"_blank\"\u003eM. \n                  René Gagnaux\u003c\/a\u003e. Gagnaux has taken a special interest in the \n                  MMS and has also transferred Mewton-Wood’s recordings of Beethoven’s \n                  Fourth Concerto and the first two of Tchaikovsky. His catalogue \n                  of Walter Goehr recordings is extensive and fascinating. \u003cbr\u003e\n                  \u003cbr\u003e\n                  Gagnaux tells us that he made his transfer by combining the \n                  best passages of two copies from his own collection and a third \n                  made available by another collector. There is a heavy surface \n                  swish throughout but the sound is vibrant and alive, the piano \n                  close and sometimes clattery in fortes, especially in the higher \n                  range, but warm and involving. The orchestra is also close, \n                  sometimes a bit confused but full and, again, involving. The \n                  oboes sound very acid, but the Suisse Romande oboes sounded \n                  similar so I suppose that’s how the Swiss liked them. All in \n                  all, the performance comes across convincingly. \u003cbr\u003e\n                  \u003cbr\u003e\n                  Given that all this costs nothing but internet connection and \n                  a blank CD to burn it on, you may take the line that “if it’s \n                  free there must be something wrong with it”. So if you pay the \n                  far from exorbitant price for the Pristine transfer, what do \n                  you get? \u003cbr\u003e\n                  \u003cbr\u003e\n                  First of all, Andrew Rose has succeeded in reducing the surface \n                  noise to virtually nothing. Even on headphones I detected no \n                  background. But can this be done without filtering out a good \n                  part of the music too? At the outset the orchestra is far duller, \n                  with the husky string sound typical of heavy noise reduction. \n                  The effect is almost that of a drastically cleaned up pre-electric \n                  recording. The piano, too, is duller, much of the light has \n                  gone from the sound. There’s also some wow at the beginning \n                  of the slow movement. The more delicate moments are attractive \n                  in a moonlit way, but the overall impression is that Mewton-Wood \n                  is playing an elderly upright piano rather than a grand. Both \n                  pianist and orchestra sound to be further away from us in this \n                  transfer, too. In the last resort the performance itself sounds \n                  less remarkable. So no contest, I’m afraid. \u003cbr\u003e\n                  \u003cbr\u003e\n                  The Stravinsky was transferred as one of the fillers on the \n                  BMS Bliss disc – in the absence of other British repertoire \n                  set down by Mewton-Wood. I haven’t heard this. \u003cbr\u003e\n                  \u003cbr\u003e\n                  The modern tendency is to treat Stravinsky’s neo-classical works \n                  with a certain dispassionate elegance. Stravinsky himself, as \n                  conductor, left no doubt that these works stemmed from the same \n                  volcanic personality as had penned “The Rite of Spring”. I am \n                  here talking of Stravinsky’s performances of his neo-classical \n                  works in general, I don’t know a Stravinsky-led version of the \n                  present piece. Mewton-Wood and Goehr provide real conviction \n                  and a blazing, barbaric splendour. Mewton-Wood’s tonal beauty \n                  emerges in the few passages – such as the beginning of the slow \n                  movement – where it is relevant. \u003cbr\u003e\n                  \u003cbr\u003e\n                  Stravinsky was notoriously antipathetic to the idea that the \n                  performer was also an interpreter. Whether or not you agree \n                  with him where other composers than himself are concerned, his \n                  own music does not essentially require an “interpreter” the \n                  way Chopin does so this performance, excellent as it is, tells \n                  us rather less about Mewton-Wood. Any collector who takes my \n                  advice and downloads the Chopin in Gagnaux’s transfer needn’t \n                  regret the loss of the Stravinsky all that much, therefore. \n                  Those who buy the Pristine CD will note that in a patch of the \n                  slow movement the surface noise is so strong that Rose does \n                  not attempt to eliminate it. On the whole the sound is livelier \n                  here than in the Chopin. \u003cbr\u003e\n                  \u003cbr\u003e\n                  I hope I’ve made it clear that Mewton-Wood is a pianist who \n                  demands investigation – but the present disc is not the place \n                  to begin. \u003cbr\u003e\n                  \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eChristopher Howell\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC284.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eOne of the greatest 'lost' musical talents of the 20th Century\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eCompleting our series of Mewton-Wood recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAlthough we are lucky to have a handful of recordings which demonstrate the wonderful pianism of Noel Mewton-Wood, it is perhaps to be regretted that these are largely drawn from the LPs made by the Musical Masterpiece Society and its various offshoots. Often, particularly in the early days, rather poorly recorded, the company also kept costs down by simplifying cover designs and information (or lack of it) as well as cheaply pressing lightweight ten inch vinyl discs.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe fact that these two recordings also span the often 'difficult' years as new tape technology replaced established 78rpm disc-to-disc recording methods has created extra work for the modern restorer. Both recordings are lacking in the extreme top end, and the orchestral tone at the beginning of the Chopin leaves a great deal to be desired. Happily this is to a degree rectified as the work progresses, and would have been passable for 78rpm release. Both recordings suffer from a light amount of peak distortion, but this has generally been rendered as unobtrusive as possible. What does shine in both of these recordings is the superb piano playing and generally fine piano tone of Mewton-Wood, for which we can be most grateful!\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\u003eSTRAVINSKY \u003c\/strong\u003eConcerto for Piano \u0026amp; Wind Instruments \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNetherlands Philharmonic Orchestra\u003c\/strong\u003e*\u003cbr\u003econducted by\u003cstrong\u003e Walter Goehr\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 1952, transfer from Club National du Disque 10\" LP MMS 64 \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCHOPIN \u003c\/strong\u003ePiano Concerto No. 2 in F minor, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eZurich Radio Orchestra\u003c\/strong\u003e\u003cbr\u003econducted by\u003cstrong\u003e Walter Goehr\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 1948, transfer from Guild International du Disque 10\" LP MMS 4\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eNoel Mewton-Wood\u003c\/strong\u003e piano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e*Netherlands Philharmonic is credited here - other issues have credited Residentie Orchestra, The Hague - see notes\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, March 2011\u003cbr\u003eCover artwork based on a photograph of Noel Mewton-Wood\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 51:23 \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\/PASC284.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC284.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=\"body\" align=\"left\"\u003e\u003cstrong\u003eNotes on the Orchestra:\u003c\/strong\u003e The members of the so-called \u003cem\u003eNetherlands Philharmonic Orchestra\u003c\/em\u003e were drawn from the three Dutch radio orchestras of the day, something since confirmed by various orchestral members.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe following notes were taken from Rolf den Otter's website notes {no longer available at original URL)\u003cbr\u003e\u003ci\u003e\u003cbr\u003e   \n After recording in Switzerland initially, the MMS label turned to the \nNetherlands for orchestral core repertoire. Several orchestras from the \nDutch public radio were recorded under the pseudonym 'Netherlands \nPhilharmonic Orchestra'. Another Dutch orchestra that recorded \nfrequently for MMS in the early '50s (under it's own name) was the \nUtrecht symphony orchestra, conducted by Paul Hupperts. To make things a\n bit complicated, the Utrecht symphony orchestra merged in the 1980's \ntogether with two other orchestras into the... Netherlands Philharmonic \nOrchestra!! Often, these two orchestras, the MMS pseudonym and the \npresent NphO. are mixed up with each other, but there is no connection!!\n \u003cbr\u003e\u003cbr\u003e    In 2001 the RFO historic society tried to find out which \norchestra and which players contributed to the 'Netherlands Philharmonic\n Orchestra' recordings. Unfortunately, this was virtually impossible. \nThe problem was that the files of the Dutch radio from that time are \ndestroyed, and the organization of these 'odd jobs' were in the hands of\n the musicians themselves, the so called \"hustlers\". These musicians \nkept no records of their side jobs....\u003cbr\u003e\u003cbr\u003e    Being radio \norchestras, Dutch law prevented to record under their own names. The \nbroadcast organizations were aware of the recording sessions, but turned\n a blind eye to the musicians. Some players remembered that members of \nthe following orchestra's performed in the MMS recordings: 'het Omroep \nOrkest' (the present Radio Symphony orchestra), the Dutch Radio \nPhilharmonic orchestra and the Radio Chamber orchestra. Not all members \nof the RFO and OO participated to the recordings, particularly the \nstring players refused to play for the MMS label.\u003c\/i\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":34585976397,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34585976525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34585976653,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34585976717,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC284.jpg?v=1490180624"},{"product_id":"pasc284-cd","title":"MEWTON-WOOD Stravinsky and Chopin: Piano Concertos - PASC284 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478252429,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478252493,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC284_075bf1ab-c1b2-4497-a9e9-e3b0d2f30c71.jpg?v=1658246903"},{"product_id":"pasc102","title":"TOSCANINI conducts 20th Century Music (1940-47) - PASC102","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHARRIS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSINIGAGLIA \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to La Baruffe Chiozzote\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eATTERBERG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6 'Dollar Symphony' in C, Op. 31\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetrushka, Parts I \u0026amp; IV\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast recordings, 1940-47  \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 72:13\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\" class=\"footer\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e conducted by Arturo Toscanni \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC102.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eToscanini Conducts 20th Century Music\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eThis collection of largely less well-known music from the tonal twentieth century spans some seven years of recordings at a time when technology was starting to develop quite quickly. That said, the sound quality throughout this collection remains high. Of the recordings here, the first was the trickiest to remaster, thanks to a higher than average degree of hiss - trying to suppress this whilst retaining the top treble was a real challenge, and some residual noise remains audible at times. Meanwhile I could find no other recording of the Sinigaglia with which to compare this one - fortunately, being the most recent of the set it was the recording which needed least work, and I was able to carry out a more general equalisation based on an average of the other recordings here, whilst taking into account the extended frequency response of the original. It should be noted that there are moments of mild overload distortion which have been impossible to entirely eradicate, occuring mainly in the Atterberg symphony.\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 class=\"bodymid\"\u003e\n\u003cstrong\u003eRoy Harris\u003c\/strong\u003e: \u003cem\u003eSymphony No. 3\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymid\"\u003e\n\u003cstrong\u003eLeone Sinigaglia\u003c\/strong\u003e: \u003cem\u003eOverture to La Baruffe Chiozzote\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymid\"\u003e\n\u003cstrong\u003eKurt Atterberg\u003c\/strong\u003e: \u003cem\u003eSymphony No. 6 'Dollar Symphony' in C, Op. 31\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymid\"\u003e\n\u003cstrong\u003eStravinsky\u003c\/strong\u003e: \u003cem\u003ePetrushka, Parts I \u0026amp; IV\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eBroadcast recordings from Studio 8H, New York:\u003cbr\u003e 1: 16\/3\/1940; 2: 23\/2\/1947; 3: 21\/11\/1943; 4: 21\/12\/1940 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e Transfer and XR remastering by Andrew Rose, October 2007\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003eDuration 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No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eKonzertmusik für Streichorchester und Blechbläser \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Valse\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1949-54\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 59:45 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC111.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eFour rare and previously unreleased recordings \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eXR-remastered from live broadcast tapes \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThese recordings were remastered from tapes in the collection of Keith Bennett, whose new biography of Guido Cantelli is, at the time of writing, imminent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAsked to comment briefly about the collection of performances and recordings presented here, Mr. Bennett replied thus:\u003c\/p\u003e\u003cp class=\"body\" style=\"margin-left: 25px;\" align=\"left\"\u003e\u003cbr\u003e\"I'll deal with the composers in alphabetical order:\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBettinelli \u003c\/b\u003e- this performance of the first of the Due Invenzioni - he [Cantelli] only programmed it twice and the other was in 1946 - has never appeared on CD although it was once on a double LP (LAR 31);\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHindemith \u003c\/b\u003e- Cantelli performed this on four occasions - three with the Philharmonic-Symphony Orchestra of New York one of which has appeared on CD (no doubt it has long been out of print) but this NBC performance has never appeared on CD;\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRavel \u003c\/b\u003e- this can be called core repertoire, Cantelli performed it 38 times! The performance of 1949 was the first of three which he gave with the NBCSO but be warned - it's his worst: however, it has never appeared on CD. The 1951 performance is on Music \u0026amp; Arts CD (in a box of 12) and the 1954 performance was in the first (and only) volume of The Cantelli Legacy issued by the defunct Arturo Toscanini Society of America (LPs of course) and is on an AS disc CD long out of print. Incidentally, La Valse was scheduled for commercial recording on three occasions but, alas, it was one of many where Cantelli had a change of mind;\u003cbr\u003e\u003cbr\u003e\u003cb\u003eStravinsky \u003c\/b\u003e- Cantelli performed this twice with the Orchestra della Scala; once with the NBC SO on 20 December 1952 (which has appeared on CD), but none of the remaining nine performances - all with the Boston Symphony Orchestra - has appeared on CD.\"\u003cbr\u003e\u003c\/p\u003e \n\n\u003cp class=\"body style21\" align=\"left\"\u003eFrom a technical perspective the recordings all responded well to XR remastering, though the older Ravel recording has considerably less dynamic and frequency range that the other three. Overall they make a very fine collection. I have retained Ben Grauer's final continuity announcement at the very end of the Ravel recording which completes this issue. Elsewhere the recordings are left with brief applause where available, which is quickly faded.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\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\u003cb\u003eStravinsky \u003c\/b\u003e- Jeu de Cartes\u003cbr\u003eBoston Symphony Orchestra (Symphony Hall, 31\/1\/53)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBettinelli \u003c\/b\u003e- Invenzione No. 1 (from Due Invenzione)\u003cbr\u003eNBC SO (Carnegie Hall, 20\/12\/53)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eHindemith \u003c\/b\u003e- Konzertmusik für Streichorchester und Blechbläser, Op. 50\u003cbr\u003eNBC SO (Carnegie Hall 31\/1\/54)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eRavel \u003c\/b\u003e- La Valse\u003cbr\u003eNBC SO (NBC Studio 8H, 5\/2\/49)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAll believed previously unissued on CD. The Bettinelli once appeared on a long out-of-print LP.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive performances recorded 1949-54 in Boston and New York. \u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, April 2008\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 59:45 \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\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\/PASC111.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC111.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":34653063117,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34653063181,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34653063245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34653063309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC111.jpg?v=1490262131"},{"product_id":"pasc111-cd","title":"CANTELLI Conducts 20th Century Music (1949-54) - 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scintillating Stravinsky\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan class=\"body\"\u003eThe source material for this recording, a high-quality BBC re-broadcast of the concert some years later, was in excellent shape, well-preserved on high-quality quarter-inch open reel tape. The only problem to be overcome was a somewhat mysterious low-frequency thumping noise, which repeated throughout the Stravinsky and infiltrated the first few minutes of the Beethoven. Fortunately these thumps were easy to remove\u003c\/span\u003e, if a little tedious as each had to be dealt with individually to ensure no musical content was lost.\u003c\/p\u003e\n\u003cp\u003eThe recording responded very well to XR remastering and the use of Ambient Stereo processing really helps to give an impression of the three-dimensional acoustical space of Carnegie Hall.\u003c\/p\u003e\n\u003cp\u003eIn the BBC's rebroadcast (date unknown) the two recordings were played in reverse order, with the Beethoven first. 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1954.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Le Chant du Rossignol\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\u003cbr\u003e\u003cp class=\"bodysmallarial\"\u003e \u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive broadcast concert at Carnegie Hall, 21st February 1954\u003cbr\u003e This transfer remastered from a later BBC re-broadcast transmission.\u003cbr\u003e\u003cbr\u003e Transfer and XR remastering by Andrew Rose at Pristine Audio, September 2008\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 52:10 \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e 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PASC145","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBORODIN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Fireb\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eird Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 56:24 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMinneapolis 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;\"\u003eAntál Doráti\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC145.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eVibrant and vivid performances from Doráti\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSuperbly captured by Mercury - and now XR remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"left\"\u003e\u003ci\u003eThis is an excellent record. A lovely performance of the Firebird Suite given us in a bright and clear recording on a disc with no surface at all worth calling surface. The Borodin Symphony is also very good— brilliant and exciting. Its only LP rival is Kletzki's performance on Columbia which was most warmly reviewed by A.P. last October. Unfortunately this new disc has come too late for me to make a comparison but I cannot believe that most listeners would be disappointed in it. For me, it certainly has a more interesting backing, for Kletzki does Ippolitov-Ivanov's rather thin Causasian Sketches. With the only reservation that the recorded quality does not seem quite to stay the course at the end of the Borodin side, this is a highly recommended record.\u003c\/i\u003e\u003c\/p\u003e\n\n\n\u003cp class=\"body\" align=\"left\"\u003eThus wrote \"T.H.\" in his short review of this disc's original release in The Gramophone in February 1955. A later reissue prompted a second reviewer, \"E.G.\" in June 1968, to add:\u003c\/p\u003e\n\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003e\u003cspan class=\"bodybigblue\"\u003eWhen it comes to these performances, I confess that I have a personal and rather sentimental affection for this LP, if only because this was one of the very first records I ever had for review, and I played it a great deal. Both interpretations have a degree of heavy-handedness characteristic of Dorati during his Minneapolis period, but what really matters is the sense of conviction. However hard Dorati drives, he always encourages full-blown phrasing, and the slow movement of the symphony and the Berceuse of Firebird have all the breadth one could want. Malko's account of the Borodin—now available on HMV Concert Classics mono XLP30010—is rather subtler than this, but this coupling of two of the richest scores ever written by Russian composers is marvellous value at this price. Why, I wonder, is the Borodin—glorious in every bar—done so little in the concert hall ?\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\n\n\u003cp class=\"body\" align=\"left\"\u003eYet since then the recording seems to have been largely forgotten, remarkably not considered worthy of CD reissue by the original record company, and thus here we present its first digital outing. Once again we express our gratitude to the Antál Doráti Centenary Society for generously supplying us with superlative transfers of mint test pressing from which to begin the remastering and restoration process.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThere's little to add other than to echo the previous reviewers - these are performances with conviction and drive, which now have considerable additional sonic depth, which further drives home the passion of Doráti's performances. Highly recommended!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\u003cstrong\u003eBORODIN: Symphony No. 2 in B minor\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINKSY: The Firebird - Ballet Suite (1919 version)\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003eMinneapolis Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eAntál Doráti\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eRecorded 20 \u0026amp; 21 January 1952 \u003cbr\u003e Northrop Auditorium, Minneapolis\u003cbr\u003e Issued as Mercury MG 50004\u003cbr\u003e\u003cbr\u003e Transferred from the archives of The Antál Doráti Centenary Society\u003cbr\u003e Restoration and XR remastering by Andrew Rose, Feburary 2009\u003cbr\u003e Cover artwork based on a photograph of Antál Doráti\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 56:24 \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\/PASC145.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC145.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":34736506765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34736506829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34736506893,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34736506957,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC145_c42a2bd1-8950-414e-9522-7ecbe6fa4619.jpg?v=1490352444"},{"product_id":"pasc145-cd","title":"DORÁTI Borodin: Symphony No. 2; Stravinsky: Firebird Suite (1952) - PASC145 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478294093,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478294157,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC145_ca72a42d-1312-4799-bea4-4ec2ec11ef5c.jpg?v=1658242183"},{"product_id":"pasc183","title":"ORMANDY conducts Stravinsky and Rachmaninov (1950-55) - PASC183","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetrushka Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Rite of Spring\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePreludes\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1950. 1954 and 1955\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 66:10\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Eugene Ormandy\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC183.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eOrmandy's excellent recordings of C20 Russian classics\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eDigitally remastered and issued for the first time since their LP releases\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\nThese transfers, made by Edward Johnson from his own collection, bring together three excellent recordings made in the first half of the 1950s by Eugene Ormandy of Russian classics of the 20th Century. The two works by Stravinsky will be familiar to most, though the Petrushka Suite is a cut-down version to that found on most recordings today, and Ormandy plays through the two parts of The Rite of Spring as if they were one, with no gap - possibly in order to squeeze the entire work onto a single LP side. Both recordings have responded very well to XR remastering - with excellent transfers of near mint LPs going a very long way to assist in this. The remastering has revealed an openness and depth to the recordings which, in their original incarnations, were sonically quite restricted, revealing altogether more enjoyable and satisfying performances than one might have gleaned from hearing the original LPs.\n\u003cbr\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eCailliet's Rachmaninov orchestrations, themselves rarely heard, are the only recordings Ormandy made of these delightful pieces. Alas, stepping back from 1954 to early 1950 one is only too aware of how much progress in capturing good sound had been made in the intervening years, and these three short recordings presented much greater challenges in restoration and remastering. A combination of poorer original acoustics and higher background hiss and noise, particularly in the second of the three recordings, all had to be overcome, and I'm quietly pleased with the results I was able to obtain. If you've never heard these Preludes played by an orchestra, they're well worth investigating - and if you're a fan of Ormandy, they're essential!\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eStravinsky\u003c\/strong\u003e - Petrushka Suite\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRecorded 7th November, 1954\u003c\/strong\u003e\u003cbr\u003e Transfer from Columbia LP ML5030\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eStravinsky\u003c\/strong\u003e - The Rite of Spring\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRecorded 24th April and 14th May, 1955\u003c\/strong\u003e\u003cbr\u003e Transfer from Columbia LP ML5030\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRachmaninov\u003c\/strong\u003e - Preludes (orch. Cailliet):\u003cbr\u003e Prelude in C sharp minor, Op. 3 No. 2 \u003cbr\u003e Prelude in G major, Op. 32 No. 5 \u003cbr\u003e Prelude in G minor, Op. 23 No. 5\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRecorded 4th February 1950\u003c\/strong\u003e\u003cbr\u003e Transfer from Columbia LP ML2158\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from vinyl by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, August 2009\u003cbr\u003e Cover artwork based on a photograph of Eugene Ormandy\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 66:10 \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\/PASC183.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC183.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":36095503437,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205577556302,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205577589070,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205577621838,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC183_31b876b0-bde0-4d6a-8e1c-bfbcfa546e23.jpg?v=1492431833"},{"product_id":"pasc183-cd","title":"ORMANDY conducts Stravinsky and Rachmaninov (1950-55) - PASC183 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478324813,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205577523534,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC183_e78ae167-0a6c-4207-ad04-437c7ad950ad.jpg?v=1658243132"},{"product_id":"pasc192","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirebird Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to 'Tannhäuser'\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS, GRIEG, MOZART, WEBER, BEETHOVEN\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTHOMAS, RIMSKY-KORSAKOV, GOUNOD, LIADOV\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1917-1924\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:37 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOf considerable interest for Stokowski admirers and those who are interested in the history of recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSure enough, in the same mail that brought me that\n Cala finale was a CD titled “Stokowski—Acoustic, Volume One.” I am not \nclear on whether it is merely the first volume of his acoustic \nrecordings or the first volume of a complete Stokowski series or \nsomething in between. Time will tell. Why do people continue to exhume \nthese sonic antiques? A respect for history? Admirable sentiment. A \ndesire to milk every last decibel and frequency wave from those hissing \nshellac grooves? Equally admirable. Stokowski, who began his \nPhiladelphia career in 1912, had initially resisted making recordings \nbecause he found them too primitive. Then, he changed his mind, \nexplaining, “I thought to myself: how stupid of you! You should record \nthis way and although it is bad and you should try to make better \nmethods of recording. . . . Then I tried to find better methods of \nrecording and very slowly they were made better but the first records \nwere made in 1917 and I’ve forgotten what they were. I’m glad I have \nbecause they were awful.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski’s early recordings were made in the \nauditorium of the New Office Building in Camden. I think some later ones\n were made in a Camden church. In those days, as many players as could \nbe accommodated were squeezed under a huge wooden horn. One source \nclaims that 90 Philadelphia Orchestra players made it under the horn. I \nsimply do not believe it. The orchestra sounds skimpy and brassy in the \nBrahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Nos. 5 and 6. I have read that, of the 450 acoustic sides he recorded, \nhe only approved 66. The selections on the CD are presented in \nchronological order of recording (skipping a few) so that one can \nactually hear a slight improvement by the time one arrives in 1924 for \nhis first of his eight recordings of the 1919 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n (I believe this is the record for one conductor recording the same \npiece), which Stravinsky had only assembled five years before the \nrecording. He cuts part of the finale, presumably to get the Suite onto \nfour sides. He also streamlines Felix Weingartner’s orchestration of \nWeber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n omitting repeats. Among the steps Stokowski took to try to improve the \nsound was shuffling the players around for better balance and having the\n horns face away from him so that the bells of the instrument would face\n the front. He changed the orchestration of some music, having the \nwoodwinds and brasses double some strings in the lower registers. You \ncan hear tuba or bass saxophone replacing double basses on some \nrecordings. He also tried various acoustic baffles to reflect the sound \nmore. He must have felt somewhat relieved in 1925, when electrical \nrecording came along, although Victor, at first, didn’t quite know what \nto do with it, continuing to record a reduced Philadelphia Orchestra in \nthe company’s dead Trinity Church studio in Camden, and substituting a \nbass saxophone for the double basses and a contrabassoon for the \ntimpani! By 1926, Victor’s engineers had gotten the message and the full\n orchestra began recording at the Academy of Music without any changes \nin the orchestration. Stokowski may have thought that some of these \nearly efforts were “awful,” but they may prove to be of considerable \ninterest for Stokowski admirers and those who are interested in the \nhistory of recording, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC192.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAll the acoustic recordings Stokowski made only once\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus his first Firebird Suite - in astonishing XR-remastered sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski made his first recordings with the Philadelphia Orchestra in 1917 though, as Edward Johnson has noted, \"between 1917 and 1924, they made an estimated 450 acoustic recordings, but the old method of playing into a large horn gave a very poor representation of orchestral sound, and of all their acoustic discs, only 60 or so were actually issued...\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIndeed, Stokowski's very first acoustic recordings were never released - his first attempts at the two Brahms Hungarian Dances included here were recorded on 22nd October, 1917, together with two works by Tchaikovsky. All four recordings were remade - in the case of the Brahms, just two days later, to become the first released recordings conducted by Stokowski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt is indeed true, as Edward Johnson states, that in their 'natural' state, acoustic recordings made a pretty poor job of capturing anything much - though HMV's legendary producer Fred Gaisberg always had an affectionate soft spot for the way they captured the human voice. It has become a generalisation to state that the recordings captured little below 200Hz, and perhaps little above 2500Hz, or perhaps 3000Hz at a push.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, as these recordings demonstrate, this was not necessarily the case - though it often takes the kind of advanced restoration processing that Pristine's XR remastering brings to these recordings to uncover the real range and quality of acoustic recordings. In the case, for example, of the first recording on this collection, there's a full bass going down to (and possibly below) 70Hz - a frequency extension of almost two octaves over the accepted lower limits. Meanwhile, throughout the recording one can clearly hear string harmonics in the 3500-4000Hz range, and where the brass plays at full volume there's genuine audio content up at (and beyond) 5kHz, which is not far off the upper end of electrical recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn order to hear these extremes it has been necessary first to dramatically re-equalise sound that has been highly coloured and harmonically distorted by the horn it was recorded through. This therefore comprises the first stage of the XR process in this context. Secondly we then have to apply highly selective, targeted noise reduction to those frequencies which have received what has often been a quite enormous level boost, rooting out the noise and leaving as much of the actual recorded audio intact.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe results of this are genuinely astonishing - even more so when the records were slowed down to concert pitch (apparently it was common for Victor to deliberately record at below 78rpm so that their records sounded brighter when played back at their stated speed). The majority were out by up to a full semitone (though some were considerably closer to true concert pitch), and the correction of this adds further depth and authenticity to the instrumental sound, as well as giving a much more sensible idea of Stokowski's tempi.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recordings here, ordered by date of recording, include every piece (or version) that Stokowski only recorded once and in the acoustic era. It was astonishing to learn that his later studio recordings included neither Mozart's \u003cem\u003e40th Symphony\u003c\/em\u003e nor Beethoven's \u003cem\u003eEighth\u003c\/em\u003e, and that as a result the movements here represent his only studio-recorded comments on these major works. Meanwhile the Dresden version of Wagner's \u003cem\u003eTannhäuser Overture\u003c\/em\u003e was replaced by the later Paris version in all his subsequent recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, I decided to add one work which Stokowski recorded more than any other conductor - Stravinsky's \u003cem\u003eFirebird Suite\u003c\/em\u003e, in a rare acoustic recording which was made right at the end of the acoustic era, and was swiftly remade in front of a microphone. Like many of the recordings in this collection, it has never been reissued on vinyl or CD.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThese XR-remastered recordings probably serve to knock about ten years off the perceived age of many of these recordings (though they won't of course disguise the substitution of tubas for double basses) - and these remarkable recordings can be enjoyed as if they were recorded in the early days of electrical recordings, rather than the dying days of the acoustic horn - albeit with at times slightly higher surface noise.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 5 in G minor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:53)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64752, Matrix B-20888-3\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 6 in D\u003c\/span\u003e (3:05)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64753, Matrix B-20889-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRIEG\u003c\/strong\u003e Anitra's Dance from 'Peer Gynt' Suite No. 1, Op.46\u003c\/span\u003e (3:11)\u003cbr\u003e Recorded 8\/11\/1917, first issued as Victor 64768, Matrix B-21067-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e \u003cstrong\u003eMOZART\u003c\/strong\u003e 3. Menuetto, Symphony No. 40 in G minor, K550\u003c\/span\u003e (4:00)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74609, Matrix C-22813-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBER\u003c\/strong\u003e Invitation to the Dance, J260 (arr. Weingartner) \u003c\/span\u003e(4:45)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74598, Matrix C-22821-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93 (\u003c\/span\u003e4:06)\u003cbr\u003e Recorded 20\/5\/1920, first issued as Victor 74661, Matrix C-24127-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Overture to 'Tannhäuser' (Dresden version)\u003c\/span\u003e (13:03)\u003cbr\u003e Recorded 7\/11 \u0026amp; 5\/12\/1921, first issued as Victor 74758, 74759, 74768\u003cbr\u003e Matrices C-22808-10, 22814-7, 24999-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Fireworks, Op. 4\u003c\/span\u003e (3:35)\u003cbr\u003e Recorded 6\/11\/1922, first issued as Victor 1112, Matrix B-27064-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTHOMAS\u003c\/strong\u003e Gavotte from 'Mignon'\u003c\/span\u003e (1:54)\u003cbr\u003e Recorded 6\/3\/1923, first issued as Victor 66172, Matrix B-27982-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRIMSKY-KORSAKOV\u003c\/strong\u003e Dance of the Tumblers from 'Snow Maiden'\u003c\/span\u003e (3:43)\u003cbr\u003e Recorded 19\/3\/1923, first issued as Victor 74849, Matrix C-27938-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOUNOD\u003c\/strong\u003e Waltz from 'Faust' \u003c\/span\u003e(3:07)\u003cbr\u003e Recorded 1\/5\/1923, first issued as Victor 66171, Matrix B-27099-8\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Festive March from 'Tannhäuser'\u003c\/span\u003e (4:18)\u003cbr\u003e Recorded 28\/4\/1924 first issued as Victor 6478, Matrix C-29051-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Firebird Suite\u003c\/span\u003e (16:02)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 6492\/3 \u003cbr\u003e Matrices C-30992-3, 30993-3, 30994-2, 30995-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLIADOV\u003c\/strong\u003e Dance of the Amazon, Op. 65\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:37)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 1112, Matrix B-31263-2\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eThe Philadelphia Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose, September 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 70:37 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":36099399501,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205576245582,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205576278350,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205576311118,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC192_a3b7e471-e1c3-4b29-8f0e-8913a7fa1e3e.jpg?v=1615189105"},{"product_id":"pasc192-cd","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192 - 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PASC535","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMIHALOVICI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSinfonia Partita for String Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in Three Movements\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARTÓK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto for Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1953 \u0026amp; 1961\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:59\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre National de la Radio-télévision Française (RTF)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre National de France\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;\"\u003eJascha Horenstein\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC535.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n  \n        The French-Romanian composer Marcel Mihalovici (1898 – 1985) and his\n        wife, the pianist Monique Haas, were personal friends of Horenstein's\n        from the time of his sojourn in Paris following the Nazi rise to power.\n        The \u003cstrong\u003eSinfonia Partita \u003c\/strong\u003eby Mihalovici, an almost\n        forgotten voice today, is a powerful, neoclassic work for string\n        orchestra composed in 1952 that synthesizes French and Eastern European\n        influences. The present performance by Horenstein, its French premiere,\n        was given shortly after the world premiere in Baden-Baden under Hans\n        Rosbaud, and formed the opening item of a concert that also included\n        the French premiere of Alban Berg's \u003cem\u003eAltenberg Lieder\u003c\/em\u003e. In both\n        cases the resultant recordings, first released on Pristine (\u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/composer-berg\/products\/pasc445\"\u003ePASC445\u003c\/a\u003e), are world\n        premiere publications.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    If the number of his performances is any indication, Horenstein's favorite\n    works by Stravinsky were the \u003cem\u003eFirebird Suite\u003c\/em\u003e, which he conducted\ndozens of times, followed by the    \u003cstrong\u003eSymphony in Three Movements\u003c\/strong\u003e, which first entered his\n    repertoire in 1956 and which here receives a bracing, bitingly acerbic\n    performance recorded live in 1961. According to the conductor Joel Lazar,\n    “For those who associate Horenstein with the effortless fluency encountered\n    in his Mahler and Bruckner slow movements, the ferocity and rhythmic drive\n    of his performance of Stravinsky’s \u003cem\u003eSymphony in Three Movements\u003c\/em\u003e\n    will come as a shock. This sort of sheer energy was, however, always one of\n    his interpretative options, quite unrelated to tempo.” The performance\n    heard here “features the linear clarity readily apparent in his 1954 Paris\n    recording of \u003cem\u003eSymphony of Psalms\u003c\/em\u003e,” also published on Pristine (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc418\"\u003ePASC418\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Horenstein first encountered Béla Bartók's music during his Weimar years,\n    which in 1927 included a number of rehearsals for the German premiere of\n    his \u003cem\u003ePiano Concerto no. 1\u003c\/em\u003e with the composer as soloist, but neither\n    he nor Furtwängler, who conducted the German premiere, ever returned to the\n    work, a distinct loss to its performance history. The only other works by\nBartók in Horenstein's repertoire were the two violin concertos and the    \u003cstrong\u003eConcerto for Orchestra\u003c\/strong\u003e. Although he performed and recorded\n    the latter work on a number of occasions, the only one that has been\n    preserved is the performance presented here, the second half of the Paris\n    concert that included Stravinsky's \u003cem\u003eSymphony in Three Movements\u003c\/em\u003e\n    also on this disc. “In addition to energy,” wrote Lazar, “Horenstein found\n    lyricism and long line in Bartók’s \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e, even\n    given the frequently changing phrase lengths and time signatures. Always\n    fascinated and obsessed with interconnections between music of different\n    genres and style periods, he brought elements of the edgy Expressionist\n    sonority and the sardonic, disquieting mood of the composer’s middle period\n    masterpieces to this late work, so often played merely as an orchestral\n    showpiece or as a display of renascent nationalism.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e1. \u003cb\u003eMIHALOVICI \u003c\/b\u003eSinfonia Partita for String Orchestra, Op. 66*  (9:17)\u003cbr\u003e\u003cb\u003eOrchestre National de la Radio-télévision Française (RFT)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eSymphony in Three Movements**\u003cbr\u003e2. 1st mvt. -  Overture; Allegro  (10:31)\u003cbr\u003e3. 2nd mvt. -  Andante; Interlude: L'istesso tempo  (6:20)\u003cbr\u003e4. 3rd mvt. - Con moto  (6:46)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBARTÓK  \u003c\/b\u003eConcerto for Orchestra, Sz.116**\u003cbr\u003e5. 1st mvt. - Introduzione. Andante non troppo - Allegro vivace  (10:09)\u003cbr\u003e6. 2nd mvt. - Presentando le coppie. Allegro scherzando  (6:37)\u003cbr\u003e7. 3rd mvt. - Elegia. Andante non troppo  (8:09)\u003cbr\u003e8. 4th mvt. - Intermezzo interrotto. Allegretto  (4:13)\u003cbr\u003e9. 5th mvt. - Finale. Presto  (9:57)\u003cbr\u003e\u003cb\u003eOrchestre National de France   \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e* World premiere recording\u003cbr\u003e** First publication in stereo\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJascha Horenstein,\u003c\/b\u003e conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on photographs of \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMihalovici\u003c\/b\u003e\u003cbr\u003eLive recording, 4 May 1953\u003cbr\u003eThéâtre des Champs-Élysées, Paris\u003cbr\u003e\u003cbr\u003e\u003cb\u003eStravinsky, Bartók \u003c\/b\u003e\u003cbr\u003eLive recording, 19 December 1961\u003cbr\u003eThéâtre des Champs-Élysées, Paris\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"_5yl5\"\u003e\u003cspan\u003eRecordings from the private collection of Misha Horenstein\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  71:59    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC535.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC535.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese recordings, from Misha Horenstein's private archive, preserve two broadcasts made by Horenstein. The earlier, mono broadcast of 1953, is in exceptional sound quality, and offers perhaps the only opportunity today to hear this rare work by Marcel Mihalovici.\u003c\/p\u003e\u003cp\u003eThe second broadcast, which makes up the bulk of the programme here, dates from 1961. Although it has surfaced elsewhere, this is the first time the stereo broadcast version has been released; previously the only option was mono. Hiss levels are higher than I would have liked, though significantly lower than on the source tape provided by Mr. Horenstein. Overall tonal quality is significantly improved over previous issues and this, coupled with the fabulous stereo imagery, makes this an essential addition to any Horenstein collection.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":8917838528573,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205546459470,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205546492238,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC535.jpg?v=1531399940"},{"product_id":"pasc535-cd","title":"HORENSTEIN conducts Mihalovici, Stravinsky \u0026 Bartók (1953, 1961) - 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transfers by Ward Marston (1921-30) - PABX024","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH (arr Elgar)\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Fantasia and Fugue in C minor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Gratulations-Menuett\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Creatures of Prometheus - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9 'Choral'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 5 \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Francesca da Rimini\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBORODIN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Prince Igor - Ballet \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 41, 'Jupiter'\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Der Schauspieldirektor - Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 6, \"Pathétique\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e March Slave\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Romeo and Juliet Fantasy Overture\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLINKA\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ruslan and Lyudmila Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Coq d'Or - suite\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Firebird Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Glinka, Liadov, Debussy\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Petrushka Ballet\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBORODIN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prince Igor - excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Czar Sultan - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e May Night - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMUSSORGSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC296.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Beethoven and Bach (1925\/28) - PASC296\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAlbert Coates - one of the great pioneering British conductors\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeginning our Coates season from Ward Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eIntroduction to our Albert Coates series:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAbout five years ago I travelled to the UK for a couple of days in order to meet up with the then editor of Gramophone (and now editor-in-chief), James Jolly. The main subjects of discussion were proposals for the Gramophone website and the possibility of a tie-in with the National Gramophonic Society recordings, a good number of which Gramophone had in storage with EMI.\u003cbr\u003e\u003cbr\u003eAt the end of our long lunch, with various ideas talked through, our discussion started to range a little wider, and James touched on a name he was really keen to hear more of: Albert Coates. I must admit that at the time I had very little awareness of Coates, but some research revealed him to be one of the greatest and most forward-looking British conductors of his day, a leading Wagnerian, and perhaps as a result of being Russian-born (to an English father), someone with a strong affinity to Russian music.\u003cbr\u003e\u003cbr\u003eIn 1919 he was appointed chief conductor to the London Symphony Orchestra, and began to make recordings with them for the Columbia Record Company in London. However, a decision by Coates to switch allegiances to HMV a couple of years later led to a number of recordings coming out during the 1920s listing him as conductor of an anonymous orchestra - which was almost certainly comprised largely of \"moonlighting\" members of the LSO.\u003cbr\u003e\u003cbr\u003eThus his electrical recording of Beethoven's 9th, one of, if not the first microphone recording of the symphony, appeared in 1926 without proper credit, and is still excluded from the main body of the LSO's official discography - and we thus cannot be 100% sure of the precise make-up of the orchestra that does play, though it is listed in an appendix as being the LSO. By 1927 HMV had bagged the LSO and normal service was resumed for a while, though his contract with the orchestra had expired in 1922 and from then on he had no permanent conducting post. He relocated to the US during World War II and thereafter to South Africa, where he died in 1953. \u003cbr\u003e\u003cbr\u003eAlthough Coates continued to record on and off until 1945, it might be well-argued that his major contributions to the recorded canon took place during the 1920s, and it is this period which we're concentrating on in a major series put together by Ward Marston, versions of some of which may have been circulating amongst collectors, but which is seeing its first formal, commercial issue here on Pristine. \u003cbr\u003e\u003cbr\u003eThe series will bring together both electrical and acoustic recordings and is initially running to 6 volumes, with a possible further three later this year or in 2012.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose, from Pristine Newsletter, 8th July 2011\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eNB. The present recording of Beethoven's Symphony No. 9 has a significant cut partway into the third movement, similar or possibly identical to a cut Coates used in his earlier, acoustic recording of the symphony. The work is otherwise complete and uncut.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Mozart and Beethoven (1921-24) - PASC298\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAlbert Coates - complete Mozart 'Jupiter' and Beethoven 7th\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eRare acoustic recordings in excellent new transfers by Ward Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cp class=\"bodybigblue\"\u003e\u003cbr\u003eUntangling the Beethoven Symphony No. 7 issues\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFor this reissue, I transferred the six sides of 1921 from the Victor issue, and the 1922 remakes of movements 3 and 4 from the French W series issue:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eMovement I\u003c\/strong\u003e: 25 October 1921; (Cc589-1, Cc590-2) \u003cem\u003eassigned HMV catalogue number D604 but only published on Victor 55165 and later on French HMV W437.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement II\u003c\/strong\u003e: 25 October 1921; (Cc591-2, Cc592-2) \u003cem\u003eassigned HMV catalogue number D605 but only published on Victor 55166 and later on French HMV W438.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement III (abridged)\u003c\/strong\u003e: 25 October 1921; (Cc593-1);\u003cem\u003e assigned HMV catalogue number D606 but only published on Victor 55173.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV (abridged)\u003c\/strong\u003e: 28 October 1921; (Cc605-3) \u003cem\u003eassigned HMV catalogue number D606 but only published on Victor 55173. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eRemakes of 3rd and 4th movements\u003c\/strong\u003e, each complete on 2 sides:\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMovement III\u003c\/strong\u003e: 17 November 1922; (Cc2166-2, Cc2167-2) \u003cem\u003eassigned HMV catalogue number D927 but only published on French HMV W480.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV\u003c\/strong\u003e: 17 November 1922; (Cc2168-2, Cc2169-2) \u003cem\u003eassigned HMV catalogue number D928 but only published on French HMV W481.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe HMV files give assigned D series numbers to both recordings as I have indicated, but I don't think they were ever issued. The 1921 six sided version of the symphony was issued on blue label Victor 55165 55166 and 55174. In 1924, HMV planned to issue the first 2 movements from 1921, along with the remakes of the 3rd and 4th movements. It was never issued in England, but years ago, I discovered quite by accident having found a copy, that French HMV had issued it on W 437, 438, 480, and 481.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eWard Marston\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAlbert Coates: Tchaikovsky's Pathétique Symphony and more\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Fine transfers ensure that Coates’ message comes across loud and clear.\"\u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThe Pathetique symphony is transferred from quiet \nItalian pressings, the only set of quiet pressings I have ever seen - \nlate 1930s Italian VDP pressings which yield far quieter surfaces than \ndomestic HMV pressings. This recording has wonderfully ambient sonics \nbut very little low frequency content, The reason being that the \nperformance was transmitted over phone line from Kingsway Hall to Small \nQueen’s hall. I did what I could to boost the lower frequencies. One can\n hear that sides 2 and 5 were recorded under different conditions than \nthe rest of the recording. One can also hear some low frequency \nelectronic noises during the final side.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Romeo and Juliet, with the Glinka filler, was only \nissued on Czech HMV. I have only seen 3 sets in 30 years and my set is \nthe only one of the three that has no blasting on the loud passages. VDP\n numbers AW46-48 are listed in Alan Kelly's compilation files, but I \nhave not heard of a copy in circulation. The March Slav is also very \nscarce.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"body\"\u003eWard Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Beethoven and Bach (1925\/28) - PASC296\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBACH (arr Elgar)\u003c\/strong\u003e - Fantasia and Fugue in C minor, BWV 537\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 11 and 12 October 1928 \u003cbr\u003eIssued on HMV D1560\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e*BEETHOVEN\u003c\/strong\u003e - Gratulations-Menuett, WoO 3\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 October 1925 \u003cbr\u003eIssued on Victor 9048\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e The Creatures of Prometheus - Overture , Op. 43 \u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 6 January 1927\u003cbr\u003eIssued on HMV D1163\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e*\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 9 in D minor, Op. 125 \"CHORAL\"\u003c\/span\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003eRecorded 14, 15 and 19 October 1926\u003cbr\u003eTransferred from Z shellac Victor pressings 9061-68 (except final disc, from a Victor Orthographic pressing)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003eElsie Suddaby\u003c\/strong\u003e, soprano \u003cbr\u003e\u003cstrong\u003eNellie Walker\u003c\/strong\u003e, contralto \u003cbr\u003e\u003cstrong\u003eWalter Widdop\u003c\/strong\u003e, tenor \u003cbr\u003e\u003cstrong\u003eStuart Robinson\u003c\/strong\u003e, bass \u003cbr\u003e\u003cstrong\u003ePhilharmonic Choir\u003c\/strong\u003e (dir. Charles Kennedy Scott)\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e(*Credited to Symphony Orchestra, probably members of LSO) \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eSpecial thanks to Richard Kaplan for supply of original 78s used in this transfer \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  78:04 \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Russian Music (1922-24) - PASC297\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e - Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 October, 3 \u0026amp; 17 November, 22 December 1922 \u003cbr\u003eIssued on HMV D759-764\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e - Francesca da Rimini - Symphonic Fantasy after Dante, Op 32 \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 \u0026amp; 24 October 1924\u003cbr\u003eIssued on HMV D951-952\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBORODIN\u003c\/strong\u003e - Prince Igor - Ballet \u003cspan class=\"bodymidarial\"\u003e[\u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Prince_Igor\" target=\"_blank\"\u003enotes\u003c\/a\u003e \/ \u003ca href=\"http:\/\/imslp.org\/wiki\/Prince_Igor_%28Borodin,_Alexander_Porfirevich%29\" target=\"_blank\"\u003escore\u003c\/a\u003e]\u003c\/span\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 18 October 1923\u003cbr\u003eIssued on HMV D795\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eThe Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e(Credited to The Symphony Orchestra, probably members of London Symphony Orchestra)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTotal duration: 68:50\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Mozart and Beethoven (1921-24) - PASC298\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART\u003c\/strong\u003e - Symphony No. 41 in C, K.551 \"JUPITER\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 27 August and 16 October 1923\u003cbr\u003eIssued on HMV D942-45\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART \u003c\/strong\u003e- Der Schauspieldirektor, K486 - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 \u0026amp; 24 October 1924\u003cbr\u003eIssued on HMV D951-952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e - Symphony No. 7 in A, Op. 92 \u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 \u0026amp; 28 October 1921\u003cbr\u003eIssued on Victor 55165, 55166, 55173\u003cbr\u003e3 \u0026amp; 4 re-recorded 17 November 1922\u003cbr\u003eIssued on French HMV W480, W481\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eThe Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e(Credited to The Symphony Orchestra, probably members of London Symphony Orchestra)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTotal duration: 70:41\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 in B minor, Op. 74 \"Pathétique\" \u003c\/span\u003e\u003cbr\u003e\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003eRecorded 15 September 1926 \u0026amp; 6 January 1927. \u003cbr\u003eIssued on English HMV D1190-94, on VDP AW148-152, Gramola ES232-236, and Electrola EJ116-120\u003cbr\u003eMatrices:\u003cbr\u003eMovement I: CR665-2A, CR666-3, CR667-2, CR668-2.\u003cbr\u003eMovement II: CR669-2A, CR670-1.\u003cbr\u003eMovement III: CR671-1, CR672-1.\u003cbr\u003eMovement IV: CR673-1A, CR674-1A \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e March Slave Op. 31\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003ematrices Cc20616-2 and Cc20617-1; \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet Fantasy Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003eMatrices: Cc13707-2, Cc13701-1, Cc13702-2, Cc13703-1, and Cc13704-1.\u003cbr\u003eissued only on Czech HMV  ES481-3.\u003cbr\u003eVDP numbers AW46-48 are listed in Alan Kelly's compilation files, but I have not heard of a copy in circulation. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmila Overtur\u003cem\u003ee\u003c\/em\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 17 October 1928\u003cbr\u003eIssued on HMV ES483\u003cbr\u003eMatrix Cc13723-2\u003cbr\u003e\u003cbr\u003eAll recordings: Kingsway Hall, London\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Russian and French music (1921-24) - PASC303\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmilla - Overture\u003c\/span\u003e\u003cbr\u003eRecorded 5 May 1922; Matrix Cc1292-2; Issued on HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003c\/span\u003e\u003cbr\u003eRecorded 10 May and 14 July 1922.\u003cbr\u003eIssued on HMV D732-734.\u003cbr\u003eSide 1 recorded 14 July 1922; matrix Cc1307-4; HMV D732.\u003cbr\u003eSide 2 recorded 10 May 1922; matrix Cc1308-2; HMV D732.\u003cbr\u003eSide 3 recorded 10 May 1922; matrix Cc1309-2; HMV D733.\u003cbr\u003eSide 4 recorded 14 July 1922; matrix Cc1310-4; HMV D733.\u003cbr\u003eSide 5 recorded 14 July 1922; matrix Cc1659-1; HMV D734.\u003cbr\u003eSide 6 recorded 14 July 1922; matrix Cc1660-3; HMV D734.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e The Snow Maiden - Dance of the Tumblers\u003c\/span\u003e\u003cbr\u003eRecorded 14 July 1922; matrix Cc1661-1; HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cbr\u003eRecorded 24 and 29 October 1924. Issued on HMV D958 and 959.\u003cbr\u003eSide 1:\u003cb\u003e 1. Introduction – Kashchei's Enchanted Garden – Dance of the Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5298-1; HMV 958\u003cbr\u003eSide 2: \u003cb\u003e2. Supplication Of The Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5297-2; HMV D958.\u003cbr\u003eSide 3: \u003cb\u003e3. The Princesses' Game With The Golden Apples; 4. The Princesses’ Khorovod\u003c\/b\u003e\u003cbr\u003erecorded 24 October 1924; matrix Cc5291-1; HMV D959.\u003cbr\u003eSide 4: \u003cb\u003e5. Infernal Dance Of All Kashchei's Subjects\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5296-2; HMV D959.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Kikimora\u003c\/span\u003e\u003cbr\u003eRecorded 28 October 1921; matrix Cc608-2; HMV D620\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Golliwog's Cakewalk from Children's Corner Suite\u003c\/span\u003e\u003cbr\u003eRecorded 25 April 1922; matrix Cc1243-2; HMV D620.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 November 1921, and 25 April 1922. Issued on HMV D708 and 709.\u003cbr\u003eSide 1, \u003cb\u003ePavane de la Belle au Bois Dormant; Petit Poucet.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc709-2; HMV D708.\u003cbr\u003eSide 2, \u003cb\u003eLaideronette, Impératrice des Pagodes.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc710-3; HMV D708.\u003cbr\u003eSide 3, \u003cb\u003eLes entretiens; De la Belle et de la Bête.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1241-3; HMV D709.\u003cbr\u003eSide 4, \u003cb\u003eLe Jardin Férique.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1242-2; HMV D709.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES conducts Rimsky, Mussorgsky, Borodin \u0026amp; Stravinsky (1926-30) - PASC304\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cbr\u003eRecorded 16 February 1928. matrices CR-1699-1A and CR-1700-1; \u003cbr\u003eHMV D1491. \u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e May Night - Overture\u003c\/span\u003e\u003cbr\u003eMatrix\n CR-2454-3, Recorded 8 October 1929, Queen’s Hall, transmitted by phone \nline to Small Queen’s Hall; matrix   Cc-17848-2, recorded 5 November \n1929, Hayes Main Studio. \u003cbr\u003eIssued on HMV D1744. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMUSSORGSKY\u003c\/b\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003cbr\u003eRecorded 7 May 1930, Queen’s Hall, transmitted by phone line to Small Queen’s Hall. \u003cbr\u003eMatrices CR-2486-2 and CR-2487-2; Issued on HMV D1855. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor - Overture\u003c\/span\u003e\u003cbr\u003eRecorded 26 October 1926, Kingsway Hall, transmitted by phone line to Small Qqueen’s Hall. \u003cbr\u003eMatrices CR-815-1 and CR-816-1;Issued on HMV D1210. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor – Ballet of the Polovetsian Maidens\u003c\/span\u003e\u003cbr\u003eRecorded\n 24 October 1927, Queen’s Hall, transmitted by phone line to Small \nQueen’s Hall; matrices CR-1554-1 and CR-1555-1A; Issued on HMV D1528. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Petrushka Ballet\u003c\/span\u003e \u003cbr\u003eRecorded\n 19 and 24 October 1927, Queen’s Hall, transmitted by phone line to \nSmall Queen’s Hall;; 5 January and 15 February 1928. Kingsway Hall; \ntransmitted by phone line to Small Queen’s Hall. \u003cbr\u003eIssued on HMV D1521-1524. \u003cbr\u003eThis set was also issued on Italian and Czech HMV as well as Electrola but never on Victor. \u003cbr\u003eThe matrix and date information is as follows: \u003cbr\u003eSide 1. CR-1542-2B (19 October 1927) \u003cbr\u003eSide 2. CR-1543-3A (5 January 1928) \u003cbr\u003eSide 3. CR-1544-1A (19 October 1927) \u003cbr\u003eSide 4. CR-1545-4 (15 February 1928) \u003cbr\u003eSide 5. CR-1546-1A (19 October 1927) \u003cbr\u003eSide 6. CR-1547-2 (15 February 1928) \u003cbr\u003eSide 7. CR-1552-1A (24 October 1927) \u003cbr\u003eSide 8. CR-1553-2 (24 October 1927) \u003cbr\u003e\u003cbr\u003eThe present transfer was made from mid-1930s Electrola pressings, EJ381-384. \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eElectric HMV recordings 1926-30\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 73:15\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116560109629,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205541314894,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC296.jpg?v=1769529760"},{"product_id":"pabx024-cd","title":"COATES The Pristine Collection - transfers by Ward Marston (1921-30) - PABX024 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs with case \u0026 artwork (+MP3)","offer_id":14116559978557,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":false},{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":55205541085518,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC296.jpg?v=1657122398"},{"product_id":"pasc587","title":"STOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHOVHANESS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 'Exile' \u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e(1936, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eUS première\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 18px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in C \u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e(1940, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eradio première\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 18px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in E flat major \u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e(1940)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1942-43\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:42\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC587.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhen the 88-year-old Leopold Stokowski conducted a work by Charles Ives with the London Symphony Orchestra in 1970, one critic referred to the maestro as \"the man who has done more for contemporary music in America than all the rest of his generation put together.\" Indeed, \u003ci\u003eThe New York Times\u003c\/i\u003e once estimated that Stokowski had given around 2,000 \"first performances\" (World Premieres, US Premieres, first broadcasts and so on) and we begin with one of them.\u003cbr\u003e\u003cbr\u003eAlan Hovhaness, American-born of Armenian-Scottish descent, was a highly prolific composer who found in Stokowski his foremost presenter of several World Premieres. These included \"Mysterious Mountain,\" especially written - in the composer's own words - for \"a very great and wonderful man.\" For his part, in his 1957 appearance on the BBC Radio show \"Desert Island Discs\" (you'll find the programme on YouTube!) Stokowski singled Hovhaness out as a considerable talent among the younger composers of the time.\u003cbr\u003e\u003cbr\u003eThe \"Exile\" Symphony was premiered in England in 1939 by the BBC Symphony under Leslie Heward and was introduced to America by Stokowski in 1942. The music evokes the terrible sufferings of the Armenian people during the First World War. Years later, Hovhaness was to replace the middle movement, here entitled \"Conflict,\" with a completely new one called \"Grazioso.\" Stokowski's NBC premiere broadcast remains the only complete extant recording of the \"Exile\" Symphony as first conceived.\u003cbr\u003e\u003cbr\u003eAlthough Stokowski was renowned for conducting numerous premieres, he was equally keen to perform new works introduced by others. He was already a staunch advocate of Stravinsky's music, having presented to America several of the composer's major works. These included \"The Rite of Spring\" in its concert and ballet presentations, as well as its first US recording. He also featured it, somewhat abridged and rearranged, in Walt Disney's \"Fantasia,\" thus ensuring its continuing popularity in concerts and on records.\u003cbr\u003e\u003cbr\u003eThe Symphony in C was premiered in Chicago in 1940 by Stravinsky himself. He was to conduct it several times with other American orchestras before it was taken up by Stokowski, who said of the work: \"It is remarkable for its simplicity and flowing cadence and has a certain 18th century flavour, with a wonderful expression of rhythm and counter-rhythm.\" The NBC radio premiere heard here was praised by Virgil Thomson for its \"detailed clarity and overall comprehension.\"\u003cbr\u003e\u003cbr\u003eLike so many other German musicians in the 1930s, Paul Hindemith fell foul of the Nazis and in 1940 had to settle in America. The Symphony in E flat was the first of his major works to be composed in the USA and was introduced by Mitropoulos and the Minneapolis Symphony in November the following year. The work consists of a vigorous first movement, a dirge-like second, a 'danse macabre' scherzo and a martial finale. Stokowski was sufficiently taken with the work to play it again with the Hollywood Bowl Symphony and the New York Philharmonic, doubtless revelling in its triumphant closing pages.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eTechnical note\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eDespite their age, these wonderfully preserved acetate disc recordings reveal an astonishing level of detail and sound quality and a full frequency response. It's easy to forget, when hearing them, just how old they are - at the time of writing nearly 80 years has passed since these performances took place. Not all of their imperfections have been eradicable, but these minor surface noises pale into insignificance against the majesty of Stokowski's 1942\/3 NBC orchestra and the sound quality captured here. Indeed these are some of the very finest quality recordings I've ever heard from this era. I would have liked to preserve the announcements from each of the performances, but to do so would have taken more space than is available on a single disc. In this instance therefore they have been cut and instead a short amount of applause left at the end of each work.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Twentieth Century Symphonies\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHOVHANESS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 1, Op. 17, \"Exile\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Lament  (7:40)\u003cbr\u003e2. 2nd mvt. - Conflict  [original version] (3:29)\u003cbr\u003e3. 3rd mvt. - Triumph  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in C\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato alla breve  (9:08)\u003cbr\u003e5. 2nd mvt. - Larghetto concertante  (7:07)\u003cbr\u003e6. 3rd mvt. - Allegretto  (4:24)\u003cbr\u003e7. 4th mvt. - Largo; Tempo giusto, alla breve  (7:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in E flat major\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Sehr lebhaft  (5:09)\u003cbr\u003e9. 2nd mvt. - Sehr langsam  (9:18)\u003cbr\u003e10. 3rd mvt. - Lebhaft  (6:27)\u003cbr\u003e11. 4th mvt. - Mäßig schnelle Halbe  (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski with Alan Hovhaness in 1958\u003cbr\u003eLive broadcast concerts from NBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:42    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\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\/PASC587.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC587.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":31543470456893,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205535285582,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205535318350,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC587_d33648d2-7664-4c03-8825-9e6e2219a6f2.jpg?v=1581612273"},{"product_id":"pasc587-cd","title":"STOKOWSKI conducts C20 Symphonies - 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Stokowski) Petrushka Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1941-44\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 32: 06 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Moscona\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, bass\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEduard Steuermann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC596.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \"I'm very fond of Russian music\" Stokowski would often say in interviews\n    and, as with so many contemporary composers during his long career, he was\n    a foremost champion of the Russians, frequently performing works by\n    Rachmaninoff, Shostakovich, Prokofiev, Khachaturian, Scriabin and many\nothers. He was also an advocate of Stravinsky's music, with\u003cem\u003eThe Rite of Spring\u003c\/em\u003e, \u003cem\u003eLes Noces\u003c\/em\u003e, \u003cem\u003eOedipus Rex\u003c\/em\u003e,\u003cem\u003eThe Song of the Nightingale\u003c\/em\u003e and the    \u003cem\u003eSymphonies of Wind Instruments\u003c\/em\u003e all receiving their US premieres\n    under his direction.\n\u003c\/p\u003e\n\u003cp\u003e\nOn Philadelphia Orchestra 78s too, he made the first US recordings of    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e and \u003cem\u003ePetrushka\u003c\/em\u003e, from which he devised\nthe colourful Suite heard here. However, it was \u003cem\u003eThe\u003c\/em\u003e    \u003cem\u003eFirebird\u003c\/em\u003e Suite which appealed to Stokowski the most. He recorded\n    this work no fewer than eight times, starting with an acoustic set in 1924\n    (PASC192, also featuring \u003cem\u003eFireworks\u003c\/em\u003e). Incidentally, he occasionally\n    added the effective clang of a tubular bell at the start of the \"Infernal\n    Dance,\" as in the brilliantly played NBC performance on this CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovky's 4th Symphony also featured in Stokowski's list of numerous\n    disc premieres, its first American recording having been made with the\n    Philadelphia Orchestra in 1928. He was to re-record it for Victor two days\n    after the broadcast heard here in a 78rpm set that has been described as\n    \"fiery and impetuous\" and even \"wilful,\" words that are also applicable to\n    the preceding live performance.\n\u003c\/p\u003e\n\u003cp\u003e\nRimsky-Korsakov was also much in Stokowski's repertoire, with    \u003cem\u003eScheherazade\u003c\/em\u003e excerpted on acoustics (PASC476) and recorded five\ntimes thereafter. He made the first American 78s of the    \u003cem\u003eRussian Easter Festival Overture\u003c\/em\u003e in 1929 and this he also\n    re-recorded with the NBC Symphony for Victor shortly after its 1942\n    broadcast. However, for this performance he made a colourful emendation.\n    About half-way through, Rimsky-Korsakov directs a solo trombone to depict\n    the chanting of a Russian Orthodox priest during an Easter service. At this\n    point, Stokowski decided on what might be called the \"authentic\" touch and\n    engaged Nicola Moscona to intone the Old Slavonic text instead. On the\n    other hand, in the case of the dazzling \u003cem\u003eSpanish Caprice\u003c\/em\u003e, Stokowski\n    rather curiously didn't get round to recording this work commercially until\n    1973, a few months before his 91st birthday!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, it is Tchaikovsky who occupies a major portion of Stokowski's\n    discography and we conclude with the 5th Symphony. He recorded the second\n    movement acoustically in 1923 (PASC441) and one of his commercial LPs -\n    taped in 1953 with his own special team of top-flight New York musicians -\n    can be found on PASC188. The same adjectives that have described\n    Stokowski's reading of the 4th Symphony can also be applied to the 5th.\n    Small cuts in both will be noted, though abridging Tchaikovsky in those\n    days was quite common - witness Toscanini's deletion of over 100 bars from\n    the \u003cem\u003eManfred\u003c\/em\u003e Symphony's finale! Nevertheless, in Stokowski's hands,\n    the NBC Symphony gives these Tchaikovsky symphonies virtuosic performances\n    as visceral, intense and as passionate as they come.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Russian Music\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Firebird Suite  (1:06)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Firebird - Suite\u003c\/span\u003e\u003cbr\u003e2. I. Introduction  (3:08)\u003cbr\u003e3. II. The Firebird and its Dance  (1:15)\u003cbr\u003e4. III. The Princesses' Round  (5:33)\u003cbr\u003e5. IV. Infernal Dance of King Kashchei  (3:46)\u003cbr\u003e6. V. Lullaby  (3:58)\u003cbr\u003e7. VI. Finale  (2:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e(arr. Stokowski) Petrushka - Suite \u003c\/span\u003e (15:33)\u003cbr\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. STOKOWSKI Introduction to Tchaikovsky Symphony No. 4  (1:32)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e10. 1st mvt. - Andante sostenuto - Moderato con anima  (15:52)\u003cbr\u003e11. 2nd mvt. - Andantino in modo di Canzona  (10:01)\u003cbr\u003e12. 3rd mvt. - Scherzo. Pizzicato ostinato. Allegro  (5:09)\u003cbr\u003e13. 4th mvt. - Finale. Allegro con fuoco  (9:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 25 November 1941*\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Russian Easter Overture  (0:35)\u003cbr\u003e2. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Russian Easter Festival Overture, Op. 36\u003c\/span\u003e  (12:39)\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Capriccio Espagnol  (0:15)\u003cbr\u003e4. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Capriccio Espagnol, Op. 34\u003c\/span\u003e  (14:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to Tchaikovsky Symphony No. 5  (0:43)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Andante - Allegro con anima  (14:04)\u003cbr\u003e7. 2nd mvt. - Andante cantabile con alcuna licenza  (13:08)\u003cbr\u003e8. 3rd mvt. - Valse. Allegro moderato  (5:56)\u003cbr\u003e9. 4th mvt. - Finale. 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