{"title":"Tchaikovsky","description":"Pyotr Ilyich Tchaikovsky (25 April\/7 May 1840 – 25 October\/6 November 1893), often anglicized as Peter Ilyich Tchaikovsky, was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime pension.\u003cbr\u003e\u003cbr\u003eAlthough musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in Russia at that time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From this reconciliation, he forged a personal but unmistakably Russian style—a task that did not prove easy. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music; this seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. This resulted in uncertainty among the intelligentsia about the country's national identity—an ambiguity mirrored in Tchaikovsky's career.\u003cbr\u003e\u003cbr\u003eDespite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother's early death, the death of his close friend and colleague Nikolai Rubinstein, and the collapse of the one enduring relationship of his adult life, which was his 13-year association with the wealthy widow Nadezhda von Meck. His homosexuality, which he kept private, has traditionally also been considered a major factor, though some musicologists now downplay its importance. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera; there is an ongoing debate as to whether cholera was indeed the cause of death, and whether it was accidental or self-inflicted.\u003cbr\u003e\u003cbr\u003eWhile his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it was sufficiently representative of native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of the latter claim, some Europeans lauded Tchaikovsky for offering music more substantive than base exoticism and said he transcended stereotypes of Russian classical music. Others dismissed Tchaikovsky's music as \"lacking in elevated thought,\" according to longtime New York Times music critic Harold C. Schonberg, and derided its formal workings as deficient because they did not stringently follow Western principles.","products":[{"product_id":"pasc470","title":"BEECHAM The ABC Blue Network Concerts, Volume 2 (1945) - PASC470","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=\"ARIALbi\"\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eGötterdämmerung: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiegfried’s Funeral March\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003ePelléas et Mélisande Suite: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Death of Mélisande\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eDivertimento, \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eK 131: \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eAdagio\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8, \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIAL\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e“Unfinished.”\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSerenade in C: \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eElegie\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes Troyens: \u003c\/span\u003e\u003cspan class=\"ARIALi\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eTrojan March \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"ARIALbi\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast on ABC\/Blue Network, 4pm, 14 April 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:50\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBlue Network Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe heart-rending, diaphanous Elegie from Tchaikovsky’s C Major Serenade for Strings, a work Beecham never committed to commercial issue...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe second in the series of Blue Network concerts in New York on 14 April 1945 (see \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2016\/Apr\/Beecham_ABC_PASC461.htm\"\u003eVolume 1\u003c\/a\u003e\n for further details) saw a tribute concert in memory of President \nRoosevelt who had died just two days before. The programme had to be \nchanged to reflect the sombre nature of the occasion which was \ninterrupted for a funeral report from the White House. A few salient \ndetails need to be borne in mind. After the introduction by Milton Cross\n there was a minute’s silence – one can hear cross-station interference –\n that producer Andrew Rose has wisely truncated. 50 seconds of music is \nmissing from the Sibelius, which he has patched from another recording –\n he doesn’t say which. A shorter patch was necessary in the Schubert \nwhich is ended early in any case by a live report.\u003cbr\u003e \u003cbr\u003e Almost \neverything here is familiar from Beecham’s extant discography, though \nnot everything will be familiar from on-the-wing live performances such \nas these. Siegfried’s Funeral March starts slightly awkwardly and \nensemble is less blended than in his 1953 RPO studio performance. \nNevertheless, the cumulative charge of the music-making is very strong \nindeed. Something should be said about Pristine’s tracking details which\n list track 3 as \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e from Sibelius’s Op.46 suite. In fact, there are, to be precise, three movements from the suite; \u003cem\u003eMélisande\u003c\/em\u003e (No.2), \u003cem\u003ePastorale\u003c\/em\u003e (No.5) and finally, and most appropriately, \u003cem\u003eThe Death of Mélisande\u003c\/em\u003e\n itself. This offers a more wide-ranging mini-suite in which playful \narabesques lighten the commemorative and grieving elements enshrined in \nthe bulk of Beecham’s programme. His 1955 RPO performance may be more \ntightly played but this New York one has great gravity – his vocal \nexhortations during this last tableau will be familiar to those who know\n his similarly live BBC Second Symphony recording. The inclusion of the \nAdagio from Mozart’s Divertimento in D, K131, is apt.\u003cbr\u003e \u003cbr\u003e The surface hiss level is at its most intrusive in the second movement of Schubert’s \u003cem\u003eUnfinished.\u003c\/em\u003e\n But the brass is trenchant and the strings taut and memories will stir \nof his pre-war reading with the LPO just as much as the 1951 RPO. By a \nquirk of reportage therefore, given that the concert relay is halted \nbefore the end of the work, we have a doubly-unfinished symphony. The \nreal bonus for Beecham aficionados is the inclusion of Tchaikovsky’s \u003cem\u003eElegie\u003c\/em\u003e from the Serenade for Strings, which he never recorded commercially. Milton Cross announces this as Berlioz’s \u003cem\u003eIntermezzo and Serenade\u003c\/em\u003e,\n a clue perhaps to the original concert line-up. This is a tremendous \nreading - fluctuating, brimming, teeming with ardent lyricism, and a \nfulsome example of Beecham’s art. The concert ends with the \u003cem\u003eMarche Troyenne -\u003c\/em\u003e a noble way in which to end this near-hour long salute to the departed leader.\u003cbr\u003e \u003cbr\u003e\n This sequence of continuing discs leads me to hope that aural evidence \nhas survived of Beecham’s coast-to-coast tour of the US with the RPO in \n1950.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA national moment of silence precedes the broadcast concert of the \nBlue Network Orchestra led by Sir Thomas Beecham – the 14 April 1945 \nconcert coincides with the funeral service for President Franklin Delano\n Roosevelt – and the program Beecham leads reflects the spirit of \nvalediction. The famous \u003ci\u003eSiegfried Funeral March\u003c\/i\u003e from \u003ci\u003eThe Twilight of the Gods\u003c\/i\u003e\n receives a potent, albeit direct, realization from Beecham’s responsive\n players, a linear approach we might ascribe to Toscanini.  Even more \npathos-ridden, the English horn solo and strings that constitute the \nfirst section of \u003ci\u003eThe Death of Melisande\u003c\/i\u003e (1905) makes a lachrymose\n impression that remains special, even in the extensive Beecham canon of\n Sibelius. After a relatively genial, nostalgic middle section, the \nreturn of the somber strings leaves us emotionally drained.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe \u003ci\u003eAdagio\u003c\/i\u003e from Mozart’s second divertimento for strings, that in \u003ci\u003eD Major, K.131\u003c\/i\u003e,\n adds a distinct element of old-world grace to the occasion.  The \ndiaphanous strings trills assume a hue, an intimation of mortality.  The\n second period in the music, with its sudden \u003ci\u003eff\u003c\/i\u003e, expresses a \nlevel of otherwise understated anguish in musical moment that approaches\n Handel for exquisite, melodic fervor. The major work, Schubert’s \u003ci\u003eUnfinished Symphony\u003c\/i\u003e, assumes an air of guarded mystery and often aggressive fire in the opening \u003ci\u003eAllegro moderato\u003c\/i\u003e.\n Beecham subdues the brass parts to allow the famous string melody \nresonant primacy. But this music of solace breaks off and enters an \nabysmal realm of profound grief which Beecham invests with demonic \npower. We sense that, had Beecham the benefit of sound enhanced beyond \nthe monaural resources of AM radio, the effect would have been truly \noverpowering. The \u003ci\u003eE Major Andante con moto\u003c\/i\u003e communicates a \npoignant dignity, solemnly martial, enhanced by the colors from the \nclarinet, oboe, French horn, and distant tympani.  An announcement \ninterrupts the broadcast of this movement; then the music resumes – \nhaving missed the Delius component – with the heart-rending, diaphanous \u003ci\u003eElegie\u003c\/i\u003e from Tchaikovsky’s \u003ci\u003eC Major Serenade for Strings\u003c\/i\u003e, a work Beecham never committed to commercial issue.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe program concludes on a more stoical note – the \u003ci\u003eTrojan March\u003c\/i\u003e of Berlioz – and even the spoken introduction by Milton Cross conveys an air of uplifted resolve.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003cbr\u003e\u003ca href=\"https:\/\/www.audaud.com\/beecham-the-abc-blue-network-concerts-volume-2-a-tribute-concert-in-memory-of-president-roosevelt-works-f-wagner-sibelius-schubert-berlioz-tcaikovsky-mozart-blue-network-sym-beecham-pr\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC470.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond of four newly-discovered broadcast concerts - Beecham's Roosevelt Tribute Concert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n concert ends with the Marche Troyenne - a noble way in which to end \nthis near-hour long salute to the departed leader\" - MusicWeb \nInternational\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSir Thomas Beecham's second of four scheduled live concert broadcasts\n with ABC's \"Blue Network Symphony Orchestra\" must have given the new \nstation's controllers any number of headaches, primarily because of the \nsudden death in office of President Roosevelt two days before the \nconcert, scheduled to coincide with the funeral service at the White \nHouse. We do not know what music Beecham had planned for that concert, \nbut one assumes it would have been considerably different to the more \nsolemn affair delivered on the day.\u003c\/p\u003e\u003cp\u003eIn preparing this previously-unreleased broadcast for issue I've had \nto make several unusual interventions. The broadcast began with a \nminute's silence, which I've faded. A section of about 50 seconds of \nmusic was missing from the Sibelius - this I've patched in from another \nrecording which I've \"aged\" to match the Beecham. A much shorter section\n in the Schubert had to be similarly patched.\u003c\/p\u003e\u003cp\u003eThe latter, interrupted by the broadcaster for a live report from the\n White House (audio of which doesn't apparently survive) is quite \nliterally unfinished - but we have most of it. Thereafter the concert is\n complete, though the announcement of a Berlioz Intermezzo and Serenade \nlead into a faded-in Tchaikovsky \u003cem\u003eElegie\u003c\/em\u003e, indicating that the concert, before a largely silent audience, continued without a break.\u003c\/p\u003e\u003cp\u003eIt's a remarkably historic document with some fabulous playing. Sound\n quality again is good AM radio; I've been able to deal largely with \nsome interference from other radio stations, whilst some disc surface \nnoise is occasionally audible.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eWAGNER \u003c\/b\u003eGötterdämmerung, WWV 86D - Siegfried's Funeral March\u003cbr\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e Pelléas et Mélisande, Suite, Op. 46 - 9. The Death of Mélisande\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento in D, K.131 - 2nd mvt. - Adagio\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003e Symphony No. 8 in B minor, D.759 \"Unfinished\"\u003cbr\u003eABC Radio - Interruption for White House funeral report\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Serenade for Strings, Op. 48 - 3rd mvt. - Elegie\u003cbr\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e The Trojans, H.133 - Marche Troyenne\u003cbr\u003e\u003cbr\u003eLive broadcast on ABC\/Blue Network, 4pm, 14 April 1945\u003cbr\u003eRitz Theater, W. 48th Street,  New York City\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBlue Network Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\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\/PASC470.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC470.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":31975230029,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975230093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975230157,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC470_a6a41065-f1f1-45c1-b4d4-0855600e8ba5.jpg?v=1487681893"},{"product_id":"pacm098","title":"BUDAPEST QUARTET Early Recordings (1926-29) - PACM098","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet in G, Op. 76, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e“Hunt” Quartet\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e“Death and the Maiden” Quartet\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e“American” Quartet\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eQuartet No. 2 in F, Op. 22\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDittersdorf\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMendelssohn \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBorodin\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-29\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:50\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Budapest Quartet\u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fConvincing, colorful bravura from the Budapest ensemble578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAssembled from electrical inscriptions, 1926-1929, this extensive set\n dedicated to The Budapest String Quartet (1917-1967) concentrates on \nthe ensemble’s early years, when shifts in the originally Hungarian \nensemble had not yet resulted in an all-Russian personnel.  The Quartet \nmembers – Emil Hauser and Imre Pogeny, violins; Istvan Ipolyi, viola; \nand Harry Son, cello – established a homogeneous, albeit Old-World sound\n – listen to their Borodin \u003ci\u003eNocturne\u003c\/i\u003e – while having instituted a \ndemocratic process for the selection of repertory. By the 1928 \ninscriptions, Russian violinist Joseph Roisman had already “infiltrated”\n the group in the second violin position.  Recording producer and \nengineer Mark Obert-Thorn notes that the works by Haydn, Dittersdorf, \nMozart, and Tchaikovsky appear for the first time in the CD format, not \nhaving been reissued since their 78 rpm incarnation.\u003c\/p\u003e\u003cp\u003eThe Mozart \u003ci\u003e“Hunt” Quartet\u003c\/i\u003e from 1926 presents a fine example of\n the Budapest style at the time, with often deliberate, slowly \narticulated phraseology – particularly in the \u003ci\u003eMenuetto\u003c\/i\u003e movement –\n and a high thin, reedy sound from Emil Hauser.  The “period” aspects of\n the Romantic style – rubato, hefty vibrato, and portamento – emerge \nrather par for the course. The clear articulation in the \u003ci\u003eAdagio\u003c\/i\u003e \nmovement simultaneously emphasizes Mozart’s long, interweaving melodic \nlines and their passing harmonic audacities. Harry Son’s cello part adds\n a piquant lyricism to the whole. The fleet \u003ci\u003eAllegro assai\u003c\/i\u003e, for all its concertante brilliance, proffers passing, ghostly harmonies touched by a sense of personal anguish.\u003c\/p\u003e\u003cp\u003eThe last movement of Dittersdorf \u003ci\u003eQuartet in G\u003c\/i\u003e (1926) clearly “borrows” motifs from Haydn’s \u003ci\u003eSymphony No. 88 in G\u003c\/i\u003e,\n the final movement. But the playing, like that of the Haydn, also from \nFebruary 1926, proves so infectious that we care not whether allusion or\n plagiarism operates here. The Dvořák performance from 16 February 1926 \nobviously predates the Russians’ CBS LP (ML 5143) which I owned and \nbecame my staple recording. Here, in their Hungarian guise, the players \nlilt and inflect Dvořák’s already sentimental lines in the \u003ci\u003eLento\u003c\/i\u003e \nwith a studied treacle that might not agree with contemporary tastes.  \nYet Emil Hauser and Imre Pogeny make a convincing duet against the \nostinato figures in the bass line. The \u003ci\u003eScherzo\u003c\/i\u003e moves in rather pesant figures, studied and tensely ponderous, with another of those “ghostly” effects proffered in the \u003ci\u003eTrio\u003c\/i\u003e, aligning Dvořák more with Weber and the dark Romantics. Only the exuberant\u003ci\u003e Finale\u003c\/i\u003e\n retains a jovial character, a radiance allotted to this vivacious dance\n music that had eluded the earlier movements.  The caesura in the flow \nof the line makes us think that Mengelberg led this performance! For \nDisc 1, the forever lovely \u003ci\u003eNocturne\u003c\/i\u003e by Borodin (23 January 1928) \nmakes a perfect encore, especially for the artistry of the two low \ninstruments, courtesy of Ipolyi and Son.\u003c\/p\u003e\u003cp\u003eCuriously in the 1950s CBS LP of “Budapest Quartet Encores” (ML 5116), only the Borodin and Mendelssohn\u003ci\u003e Canzonetta \u003c\/i\u003ehad renewed inscription from the all-Russian ensemble. That disc made us wish for a complete version of the Franck \u003ci\u003eQuartet\u003c\/i\u003e\n in the Budapest pantheon of recordings.  With Roisman in the second \nviolin chair, we might grant a degree of crisper, cleaner articulation \nIn the Mendelssohn (23 January 1928) than we had been hearing in the \n1926 shellacs. I recently aired the recording of the 1874 Tchaikovsky \u003ci\u003eF Major Quartet\u003c\/i\u003e,\n an opus the composer held in high esteem.  The February 1929 recording \nhas been restored with disarming clarity of line, so the music’s diverse\n virtues shine, as the opening quasi cadenza sets a powerful mood. The \ninterior movements’ asymmetries emerge in well defined sonics. \nTypically, Tchaikovsky invokes contrapuntal means in the last movement \nto “legitimize” his Classical credentials.  Given Tchaikovsky’s \nadmiration of Beethoven – “there are no wasted motions in his music, no \nfiller,” exclaimed Tchaikovsky  – it seems appropriate that much of this\n quartet – especially in the metrics of the \u003ci\u003eScherzo\u003c\/i\u003e – resonates with a confidence and sense of structure associated with the Bonn master.\u003c\/p\u003e\u003cp\u003eFrom the opening, macabre fanfare, the Budapest Quartet’s inscription (January 1928) of Schubert’s \u003ci\u003eDeath and the\u003c\/i\u003e \u003ci\u003eMaiden Quartet\u003c\/i\u003e\n of 1826 bears the imprimatur of a fine performance.  Only the “Death” \nlyric of the Matthias Claudius poem is cited by Schubert from his own \nsong, from which the \u003ci\u003eg minor\u003c\/i\u003e second movement draws its impetus.  The rhythm bears a family resemblance to the \u003ci\u003eAllegretto\u003c\/i\u003e of the Beethoven \u003ci\u003eSeventh Symphony\u003c\/i\u003e.\n Of the variations that follow, only the fourth permits a ray of \nsunshine in G Major; but prior to that hopefulness, Emil Hauser has \nintoned some fine lyricism, along with Son and Ipolyi.\u003c\/p\u003e\u003cp\u003eThe last two movements exploit a more “symphonic” sound, so no wonder\n Mahler found the entire work worthy of orchestral treatment. The \nhaunted character of the\u003ci\u003e Scherzo\u003c\/i\u003e does little to relieve the immanence of Death. Is the\u003ci\u003e Trio\u003c\/i\u003e\n section anything more than a seduction of the Maiden by Death, in the \nsame vein as the Elf-King’s overtures to the sickly boy in \u003ci\u003eDer Erlkoenig\u003c\/i\u003e? The combination of hunting-motif and eerie tarantella of the last movement offers a \u003ci\u003ePresto \u003c\/i\u003eof\n convincing, colorful bravura from the Budapest ensemble, here posing a \nserious rival to the equally respected inscription by the Busch String \nQuartet.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM098.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA superb collection of early electrical recordings by the Budapest Quartet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I do not hesitate in saying that this recording of the D minor Quartet is the best I know of\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e“One Russian is an anarchist.  Two Russians are a chess game.  Three \nRussians are a revolution.  Four Russians are the Budapest String \nQuartet.”  Or so went the witticism attributed to Jascha Heifetz.  But \nthis was not always the case.  In 1917, when four players from the \nBudapest Opera Orchestra formed the quartet, it consisted of three \nHungarians (Emil Hauser, Alfred Indig and Istvan Ipolyi, all Hubay \npupils) and a Dutchman (Harry Son, who had studied with Popper).  The \nensemble was founded upon certain ground rules:  unusually for the time,\n the members would confine their activities only to the quartet; and \ninterpretational disputes would be resolved by majority vote, with ties \nbroken by a designated repertoire specialist.\u003cbr\u003e\u003cbr\u003eWhen Indig left in \n1920, he was replaced by another Hungarian, Imre Pogany.  It was this \nconfiguration which first entered the recording studio in 1924.  HMV \nproducer Fred Gaisberg was keen to compete with Columbia’s \nBudapest-based Lener Quartet.  Acoustic sessions devoted to the Dvořák \n“American” Quartet came to nought when electrical recording was \nintroduced in 1925, and the ensemble’s first issued recordings, all of \nwhich are presented here, date from a series of sessions dating from \nJanuary through March of 1926.\u003cbr\u003e\u003cbr\u003eThe Russian infiltration began in \nthe latter half of the following year.  Pogany had left to join Fritz \nReiner’s Cincinnati Symphony (he would later move on to Toscanini’s New \nYork Philharmonic) and was replaced by Odessa-born Joseph Roisman.  \nRoisman had studied in both his native city and Berlin, and brought a \ndifferent approach that from early on challenged the Hungarians’ status \nquo (including their playing of weak staccatos using the tip of the bow,\n rather than its middle).\u003cbr\u003e\u003cbr\u003eIn 1930, Harry Son left the quartet and\n moved to Palestine.  (He was later to return to Rotterdam, ultimately \nbecoming a victim of the Holocaust.)  His position was taken in 1931 by \nthe second Russian, Mischa Schneider.  Roisman now found an ally in his \ninterpretive disputes, and by 1932, Hauser decided to leave, selling his\n Guarnerius to Roisman and eventually becoming a well-regarded teacher, \nboth in Israel and the United States.  With Roisman now as leader, \nAlexander Schneider, Mischa’s brother, was engaged for the second violin\n spot.  Ipolyi soldiered on for several more years before leaving in \n1936 to be replaced by another Odessa native, Boris Kroyt.  He became a \nteacher and author, eventually settling in Norway.\u003cbr\u003e\u003cbr\u003eThe early \nquartet’s recordings have had only spotty availability in extended-play \nformat.  Their 1927 Beethoven Grosse Fuge appeared on an EMI Références \nLP and a Biddulph CD.  The latter also contained nearly all the rest of \nthe quartet’s Beethoven recordings, including Opp. 130 and 59\/1.  A CD \non the Novello label featured the Schubert, Mendelssohn, Borodin and \nDvořák presented here, along with the “Andante cantabile” from \nTchaikovsky’s First Quartet.  The Haydn, Dittersdorf, Mozart and \nTchaikovsky Second Quartet make their first appearances here since the \n78 rpm era.\u003cbr\u003e\u003cbr\u003eThe sources for the transfers were mostly prewar \nAmerican Victor editions:  “Z” pressings for the Dvořák and Tchaikovsky;\n a “Gold” label album for the Schubert and Mendelssohn; and \n“Orthophonic” pressings for the Mozart and Borodin.  The Haydn and \nDittersdorf were taken from British HMV shellacs.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\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\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eQuartet in G Major, Op. 76, No. 1\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded  21 January and 4 and 11 February 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7787-1, 7788-2, 7835-2, 7836-1 \u0026amp; 7837-5 (HMV D 1075\/7)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eDITTERSDORF\u003c\/b\u003e Allegro (Finale)\u003cspan style=\"font-size: small;\"\u003e from String Quartet No. 1 in D Major\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 4 February 1926 ∙ Matrix no.:  Cc 7840-1 (HMV D 1077)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Quartet No. 17 in B Flat Major, K. 458, “Hunt”\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 25 January, 1 and 8 February and 4 March 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7854-2, 7855-1, 7856-2, 7857-7, 7858-7A \u0026amp; 7859-2 (HMV D 1387\/9)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eQuartet No. 12 in F Major, Op. 96, “American”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 16 February 1926\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 7769-5, 7770-5, 7771-4, 7772-5, 7773-5 \u0026amp; 7786-5 (HMV D 1124\/6)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEmil Hauser \u003c\/b\u003e(Violin I)\u003cb\u003e\u003cbr\u003eImre Pogany\u003c\/b\u003e (Violin II)\u003cb\u003e\u003cbr\u003e Istvan Ipolyi \u003c\/b\u003e(Viola)\u003cb\u003e\u003cbr\u003e Harry Son \u003c\/b\u003e(Cello)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003e\u003cbr\u003eRecorded in the HMV Studios, Hayes, Middlesex\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eBORODIN \u003c\/b\u003eNocturne from Quartet No. 2 in D Major\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 January 1928 ∙ Matrix nos.:  Cc 12466-2 \u0026amp; 12467-2 (HMV D 1441)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Quartet No. 14 in D Minor, D.810, “Death and the Maiden”\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 and 26 January 1928\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 10160-3, 10161-3, 10162-2, 10163-6, 10164-7, 10165-4, 10166-5, 10167-5 \u0026amp; 10168-5 (HMV D 1422\/5)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Canzonetta \u003cspan style=\"font-size: small;\"\u003efrom Quartet in E Flat Major, Op. 12\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 23 January 1928 ∙ Matrix nos.:  Cc 12465-1 (HMV D 1425)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif; font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Quartet No. 2 in F Major, Op. 22\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eRecorded 8 and 9 February 1929\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: arial, helvetica, sans-serif;\"\u003eMatrix nos.:  Cc 15861-2A, 15862-2A, 15863-1, 15864-1A, 15865-2, 15866-2A-T1, 15867-1, 15868-2 \u0026amp; 15869-1A (HMV D 1655\/9)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEmil Hauser \u003c\/b\u003e(Violin I)\u003cb\u003e\u003cbr\u003eJoseph Roisman \u003c\/b\u003e(Violin II)\u003cb\u003e\u003cbr\u003eIstvan Ipolyi \u003c\/b\u003e(Viola)\u003cb\u003e\u003cbr\u003eHarry Son \u003c\/b\u003e(Cello)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded in Studio C, Small Queen’s Hall, London\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\/PACM098.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM098.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSchubert, 1928\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eIt gives me a feeling of great pleasure when from \nthe Editor I receive a big album containing some musical work in its \nentirety. And when this time I read the title and saw that H.M.V. had \nrecorded Schubert’s String Quartet in D minor (“Death and the Maiden”) \nperformed by The Budapest String Quartet (D. 1422—26, 12in., in album, \n£1 12s. 6d.), my heart leapt, knowing that something really good was in \nstore for me—and I was not disappointed.\u003cbr\u003e\u003cbr\u003eSchubert is to me, first\n of all, the composer of the lieder of the world: but when they have \nbeen mentioned I turn to the two well-known Symphonies, the Quintet with\n the two ’celli and this Quartet in D minor. All four works have the \nmain Schubertian qualities in common—the spontaneous well of musical \nideas, the flow and the joy, but also such grave problems as it is only \ngiven the great ones to meet with and to solve in their inmost mind. To \ncreate such music means unselfishly to serve the ideas and never to stop\n before the last and only expression has been found. To perform such \nmusic means just the same, and that is why I do not hesitate in saying \nthat this recording of the D minor Quartet is the best I know of.\u003cbr\u003e\u003cbr\u003eIt\n is not necessary but, nevertheless, stimulating to compare it with \nanother gramophonic edition, namely, the excellent performance by the \nLondon String Quartet (Columbia) which also is electrically recorded. \nNow, electrical recording steadily improves and the Budapest String \nQuartet benefits from it. All five discs are exceptionally fine from a \ngramophonic point of view. But, what is far more important, this \nperformance is unselfishly Schubertian. It has obviously been the aim of\n these performers not to show their fine playing but to play Schubert’s \nfine Quartet. The L.S.Q. has much of this but the Budapestians have \nmore, and anyone who will listen to the theme of the second movement \n(the “Death and Maiden” subject where, by the way, only “Death” appears)\n will realise what I mean. Many will find that the L.S.Q. have mere \ndelicacy, but the B.S.Q. have a broader attack and are of a more vivid \ntemperament (listen to the last movement) and, as I pointed out last \nmonth, have a more “ quartettish ” way of playing than many bodies, \nwhere one player is mostly predominant. I put them amongst the very best\n quartet players of the present time, and they have done themselves and \nH.M.V. full justice on this occasion.\u003cbr\u003e\u003cbr\u003eC. J., The Gramophone, May 1928 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":2913847771162,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":2913847803930,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM098.jpg?v=1510656058"},{"product_id":"pasc316","title":"CANTELLI Tchaikosvky: Symphony 5, Romeo \u0026 Juliet (1950\/51) - PASC316","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;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomeo and Juliet – Fantasy Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\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: 12px;\"\u003eStudio recordings, 1950\/51\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 62:37\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Scala Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Guido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fCantelli’s La Scala Fifth is a must-have578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the moment, the symphony fills a \nuseful gap in that this 1951 EMI recording does not seem to be otherwise\n available. But I’ve just seen EMI announce a Cantelli box in its “Icon”\n series, which will presumably include it, and will probably be \navailable by the time you read this. On this evidence, the recording \nitself is close, opaque, compressed, and rather colorless, about which \nthere’s probably not much to be done (Pristine’s transfer is in the \nexpert hands of Mark Obert-Thorn). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance is new to me, and I \nconfess to finding it quite astounding—not a bar of routine in the \nentire work; the familiar Cantellian qualities of ferocious control, \nclarity, and articulacy, but on this occasion with no sacrifice of \nspontaneity or sense of a real performance on the wing (in contrast to \nhis EMI “Pathétique” with the Philharmonia the following year, which has\n always struck me as a little studio-bound, over-controlled). The slow \nintroduction is kept on a tight rein, following which the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con anima\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is fast and precise (13:00) but with a surprising flexibility, for \nexample, the bridge, Rehearsal C ff., slightly held back for even \ngreater force and clarity; the result is an increase, not a decrease, in\n tension. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolto piu tranquillo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n third theme (12 before Rehearsal H) is much faster (closer to the main \ntempo) than usual, purging the melody of sentimentality and lending it a\n rare gracefulness and coherence. In the recapitulation, Cantelli \nimpresses by his penchant for fresh rethinking of the transposed return \nof material from the exposition—see the first of the two secondary \nthemes (C♯-Minor, Rehearsal T + 8), projected with (relative to its \nfirst appearance) a noticeable increase in intensity, vehemence of \nattack, and rhetorical emphasis. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe strings’ introduction to the \nAndante cantabile displays a curious (rather Mengelbergian!) didactic \ntouch in the pointed break between bars 4 and 5, presumably to the end \nof clarifying the quadratic symmetry of phrase structure. In Cantelli’s \nhands, the movement has an atmosphere of hypnotic concentration, a \ndarkly elevated, sacralistic quality. Wind solos are projected with \ngreat solidity and vocal eloquence. Fresh-minted observation of detail \nis everywhere in evidence, and nothing escapes Cantelli’s eagle eye—for a\n small example, see the extraordinarily vivid, precise realization of \nTchaikovsky’s injunction \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePiu animato–ritenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in the repeated violin figure two bars before the contrasting middle \nsection (Rehearsal C + 7). The reprise’s gradual buildup to the \nmovement’s climax attains an overwhelming intensity through Cantelli’s \nfanatical strictness of control. The Waltz is rigorous and articulate \n(see the 16th-note thread through the middle section—this is faster than\n it sounds!). The finale is taken at a surprisingly measured pace, with a\n quality of weighty compactness and a refusal to get over-excited. This \npays dividends in the second theme (Rehearsal E ff.), where Cantelli’s \nprecision and grace (with a pointed slight over-dotting of the oboe \nmotive, then passed to cellos and basses) contrasts with the usual \nslightly frantic feel here. By comparison, Cantelli’s later live \nversions of the symphony (NBC, 1952, Music \u0026amp; Arts; Boston SO, 1953, \nPristine) are a little slower, more malleable and less single-minded in \nthe first movement, but consistently faster in the other three. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Single-minded” might be an even more apt descriptor for Cantelli’s dry-eyed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n clocking in on the fast side at 18:27, though the timing is more the \nresult of his complete lack of indulgence (though not of a subtle \nflexibility) in the lyrical music than of any unusual speediness in the \nmain \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro giusto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n What sticks in the memory is that characteristically Cantellian \ncombination of legato solidity and keen rhythmic edge, investing the \nwhole thing with great power and sweep, delivered with high polish by \nthe Philharmonia. Transfer-wise, the competition here is with Testament \n(as a filler to the aforementioned Philharmonia “Pathétique”); though \nPristine’s sound is solid and well focused, I find Testament’s superior \nin impact and richness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, Cantelli’s La Scala Fifth is a\n must-have. This will do very nicely, though I’ll be curious to hear how\n it compares with the EMI “Icon” release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:5 (May\/June 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC316.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli conducts Tchaikovsky - superb new  Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"I confess to finding it quite astounding—not a bar of routine in the entire work\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eMany people still carry a torch for Guido Cantelli, the \nbrilliant Italian conductor tragically lost in a plane crash in 1956. \nCantelli was primed as Toscanini's successor, and would surely have gone\n on to great things, as a handful of surviving recordings suggests.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHere we present two excellent examples of his craft, in \nbrand new transfers from mint sources by Mark Obert-Thorn. Cantelli's \napproach to the music of Tchaikovsky was exemplary, and won immediate \nplaudits, including this from The Gramophone in 1951:\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\"Most of all, we find this abatement of the tragic \nelement in Tchaikovsky's mind in Cantelli's firm and far-seeing \ntreatment of the motto theme, in its first presentation and especially \nin its returns on sides 5 and 7. The last movement he makes sound \npositively hopeful, encouraging rather than, as sometimes, merely making\n the best of things. All praise to the performance, then...\"\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet – Fantasy Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003eRecorded 13 October 1951\u003cbr\u003eAbbey Road Studio 1, London\u003cbr\u003eFirst issued as HMV DB 21373-75S (78s)\u003cbr\u003eFirst LP issue HMV ALP 1086\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milano\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003eRecorded 23 \u0026amp; 26 September 1950\u003cbr\u003eAbbey Road Studio 1, London\u003cbr\u003eFirst issued as HMV DB 21187-91 (78s)\u003cbr\u003eFirst LP issue HMV ALP 1001\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eGuido Cantelli \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003e\u003c\/b\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 Cantelli\u003cbr\u003e\u003cbr\u003eTotal duration: 62:37\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC316.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC316.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34129836941,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34129837069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34129837197,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC316.jpg?v=1489570341"},{"product_id":"pasc457","title":"CANTELLI Tchaikovsky: Symphony No. 5, Romeo \u0026 Juliet (1952) - PASC457","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHULMAN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Laurentian Overture\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert recordings, 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:08 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\u003cbr\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance is full of passion yet control is consistently maintained578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe death of Guido Cantelli (1920-1956) in a plane crash was a grievous \nloss to music. Fortunately we have a good legacy of recordings, both \nstudio-made and live, which show us how great was his talent. The \nTestament and Music \u0026amp; Arts labels have issued a good number of \nCantelli recordings but Pristine Audio have been no less assiduous and I\n was delighted to read on their website the following statement: “These \ntransfers come from a newly-acquired archive of the complete NBC \nbroadcast recordings of Guido Cantelli, very gratefully received here at\n Pristine, which promises many further treasures to come.” The prospect \nof further Cantelli releases is an enticing one, especially if they \nmatch this present one in terms of artistic and sonic quality.\u003cbr\u003e \u003cbr\u003e \nThe unfamiliar name on the programme may be that of Alan Shulman. An \nAmerican, he was a cellist in the NBC Symphony Orchestra between 1937 \nand 1954, though his time with the orchestra was disrupted by wartime \nservice. I understand that his compositions enjoyed some early success, \nnotably his \u003cem\u003eTheme and Variations for Viola and Orchestra\u003c\/em\u003e (1940) and his \u003cem\u003eCello Concerto\u003c\/em\u003e. However, his music has now largely faded from view though a CD of some of his pieces was issued a few years ago (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2003\/May03\/Shulman.htm\"\u003ereview\u003c\/a\u003e). That disc includes the present performance of \u003cem\u003eA Laurentian Overture\u003c\/em\u003e.\n Shulman had sent the score to Cantelli in 1951 and the conductor \nresponded favourably, giving the work its first performance with the New\n York Philharmonic in January 1952. The performance preserved here was \nthe second outing for the score\u003cbr\u003e \u003cbr\u003e Shulman’s score is very \nAmerican in accent, especially in its lively outer sections. Between \n4:04 and 6:10 there’s a quieter, more reflective episode in which \nwoodwind solos predominate. It’s an uncomplicated piece that sounds to \nbe well written for the orchestra. It may not be great music but it’s \nthoroughly engaging and deserves to be more widely heard.\u003cbr\u003e \u003cbr\u003e \nInevitably, the main interest here lies in the Tchaikovsky performances.\n I’m familiar with both – and with the Shulman – because they were \nincluded in a 12-CD set from Music \u0026amp; Arts, \u003cem\u003eThe Art of Guido Cantelli. New York Concerts and Broadcasts (1949-1952)\u003c\/em\u003e\n (CD-1056). That set is indispensable for Cantelli admirers though I \nthink there are good reasons to invest in this Pristine disc, even if \nyou have that box. It should also be said that Pristine already have two\n Cantelli recordings of the Fifth Symphony in their catalogue: a live \nBoston performance, which I’ve not heard (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2014\/Oct14\/Tchaikovsky_sy5_PASC085.htm\"\u003ereview\u003c\/a\u003e) and his 1951 studio recording (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/Sept12\/Tchaikovsky_sy5_PASC316.htm\"\u003ereview\u003c\/a\u003e). In terms of playing quality and sheer electricity the NBC performance outshines the studio version.\u003cbr\u003e \u003cbr\u003e In the first movement I like Cantelli’s sprightly approach after the \u003cem\u003eAndante\u003c\/em\u003e introduction. There’s lots of electricity and drive in his handling of the \u003cem\u003eAllegro con anima\u003c\/em\u003e\n but we also find that the lyrical passages are sympathetically handled.\n The performance is full of passion yet control is consistently \nmaintained. The NBC principal horn gets the slow movement off to a \ndistinguished start. The movement as a whole is full of feeling and I’m \ntempted to say that there’s evidence of an ardent Italian temperament \nyet, as in the preceding movement, the ardour is never allowed to \novercome the discipline of the conducting. Cantelli’s way with the \u003cem\u003eValse\u003c\/em\u003e is winning. He makes a powerful start to the finale. When the \u003cem\u003eAllegro vivace\u003c\/em\u003e\n is reached the performance is very exciting though the pace that \nCantelli adopts will seem sober to those who have heard the electrifying\n \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2014\/Feb14\/Tchaikovsky_sys456_PASC396.htm\"\u003eMravinsky\u003c\/a\u003e.\n I rather prefer Cantelli’s slightly more measured approach, which \nallows for good definition. At times the timpani are quite prominent but\n it all adds to the sense of excitement. When the motto theme returns in\n the major key (9:57) the music sounds to be full of optimism. In the \nclosing pages (from 11:58) Cantelli whips up the speed, though I don’t \nthink that’s marked in the score. Unsurprisingly there’s a rapturous \novation.\u003cbr\u003e \u003cbr\u003e As I mentioned, this performance is included in a \nlarge Cantelli box from Music \u0026amp; Arts, issued in 2003, in which the \ntransfers were done by Maggi Payne. Her transfer of this performance is \ngood but Andrew Rose has achieved better results. On my equipment the \nPristine transfer has much more warmth, especially in the treble (the \noboes, for example) while there’s greater depth in the bass than Music \n\u0026amp; Arts provide.\u003cbr\u003e \u003cbr\u003e \u003cem\u003eRomeo and Juliet\u003c\/em\u003e was performed a \nmonth earlier. It’s a very intense, dramatic reading and the NBC \nSymphony plays very well indeed. The fight music is very exciting while \nCantelli keeps the love music moving forward with no little urgency. \nIt’s a terrific performance. Incidentally, you may notice that at the \nvery end the timpanist sustains his roll right the way through the final\n chord. This piece was given by Cantelli as part of his London debut \nconcert with the Philharmonia in 1951. He and the orchestra made a \nstudio recording for HMV shortly afterwards. That performance has been \nissued by Pristine (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/Sept12\/Tchaikovsky_sy5_PASC316.htm\"\u003ereview\u003c\/a\u003e)\n and also by Testament (SBT 1316). Unsurprisingly, the HMV sound is \nbetter but this NBC performance has the edge in terms of attack and \nelectricity. The NBC performance is similarly available in the Music \n\u0026amp; Arts box but the Pristine transfer is finer.\u003cbr\u003e \u003cbr\u003e If, like me,\n you have that Music \u0026amp; Arts set you may feel disinclined to invest \nin this Pristine release. However, there’s a significant gain in the \nquality of recorded sound and that, I think, would justify the \nduplication. Other collectors will find this Pristine disc a most \ntempting proposition, especially as the transfers are so good. The \nperformances are fantastic and show why the loss of Guido Cantelli at \nthe age of just 36 was such a crippling blow to the world of music.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJohn Quinn\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC457.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli shines in Tchaikovsky - and Shulman\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n performances are fantastic and show why the loss of Guido Cantelli at \nthe age of just 36 was such a crippling blow to the world of music\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThese transfers come from a newly-acquired archive of the complete \nNBC broadcast recordings of Guido Cantelli, very gratefully received \nhere at Pristine, which promises many further treasures to come. The two\n concerts form which the recordings were drawn took place a month apart \nat the start of 1952, and our source material was, by and large, \nexcellent. If there is a slight difference in quality it is to be heard \nin the Shulman, where the upper treble is less well captured than in the\n two Tchaikovsky pieces.\u003c\/p\u003e\n\u003cp\u003eThe latter, by contrast, were excellent. Happily both concerts took \nplace in Carnegie Hall, rather than the NBC studio from where Toscanini \nbroadcast the majority of his NBC SO concerts. Thus we get the benefit \nof a much more sympathetic acoustic - something that really adds to \nthese superb performances - rather than the dry and claustrophobic sound\n associated with the orchestra as heard in Studio 8H. \u003c\/p\u003e\n\u003cp\u003eThe audiences were exceptionally quiet, especially so in the second \nof the two concerts; occaisonal coughing and other unwanted noises have \nbeen removed from the \u003cem\u003eRomeo and Juliet\u003c\/em\u003e recording. I'm grateful once more to Keith Bennett for his insight and excellent notes to what is a fabulous Cantelli release.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\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\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e  Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e  *Romeo and Juliet (overture-fantasia)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eSHULMAN\u003c\/b\u003e  A Laurentian Overture\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive performances, Carnegie Hall, New York City\u003cbr\u003e1 March, 1952 and *2 February 1952 \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGuido Cantelli\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\/PASC457.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC457.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\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eLet \nus start at the beginning. Guido Cantelli graduated as a professional \nmusician on 3 February 1943 and his first engagement was in his home \ntown of Novara when he conducted \u003cb\u003eLa Traviata\u003c\/b\u003e eighteen days later.\n His meteoric rise to fame came after an unseen Arturo Toscanini \nwitnessed Cantelli’s rehearsal during May 1948 with the Orchestra della \nScala for a concert which was to be his first appearance in the Teatro \nalla Scala. The rest is well-known and it is an unequivocal fact that \nCantelli’s international career was launched from that informal \nencounter.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eUp until the end of 1948 only one Tchaikovsky symphony (the \u003cb\u003e\u003cem\u003ePathétique\u003c\/em\u003e\u003c\/b\u003e)\n had been performed (twice) by the young conductor and the only other \nperformances of Tchaikovsky were the violin and the piano concerto which\n were conducted just once.\u003cb\u003e \u003c\/b\u003eCantelli gave his first performance of the Tchaikovsky \u003cb\u003eSymphony No.5\u003c\/b\u003e\n when the Orchestra della Scala took part in the 1950 Edinburgh \nFestival: this was Cantelli’s first visit to the UK. Such was the \nacclaim of his performances on the 5\u003csup\u003eth\u003c\/sup\u003e and 9\u003csup\u003eth\u003c\/sup\u003e \nSeptember that he was persuaded to record the work later that same month\n when the orchestra was appearing in London. There followed another \nseven performances in Italy with the same orchestra. In 1951 there were \nonly five performances, all in the USA – two with the Pittsburgh \nSymphony Orchestra and three with the San Francisco Symphony Orchestra.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThus,\n by the time that Guido Cantelli mounted the podium on 1 March 1952 in \nCarnegie Hall, the late Harris Goldsmith made the very valid comment \nthat the conductor had already given a dozen performances of this \nsymphony since he made the commercial recording and that experience can \nbe heard for three reasons: first, as Harris Goldsmith pointed out, \nCantelli had considered his interpretation further in the light of these\n performances; second, he had a fabulous orchestra at his disposal; and \nthird, this was his 22\u003csup\u003end\u003c\/sup\u003e appearance with the NBC Symphony \nOrchestra and the musicians were well aware of the young conductor’s way\n with Tchaikovsky, since they had played the Fantasy Overture \u003cb\u003eRomeo and Juliet\u003c\/b\u003e twice and the \u003cb\u003eSymphony No.4\u003c\/b\u003e once. This was to be his only performance of \u003cb\u003eSymphony No.5 \u003c\/b\u003ewith\n this orchestra and, understandably, Cantelli had already honed his \nvision of the work to a remarkable degree. That is not to say that he \nfollowed every instruction contained in Tchaikovsky’s score, but there \nis never the impression of manipulation or sentimentality and there are \nplenty of instances where Cantelli was meticulous in observing \nTchaikovsky’s wishes. Maybe there a wind of change in the air during the\n 1950s and - for this listener - it was like a breath of fresh air.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe performance of Tchaikovsky’s \u003cb\u003eRomeo and Juliet \u003c\/b\u003efrom\n a few weeks earlier (2 February) has all the ardour, passion and drama \ncontained in the score, and while Cantelli’s commercial recording with \nthe Philharmonia Orchestra (recorded 13 October 1951) is more subtle \nthere is considerable disappointment that James Bradshaw’s tympany is \nrecorded at too low a level, which is very obvious when one hears the \nNBCSO’s Karl Glassman ferocious attacks. Those who eyes are glued to the\n score will note that that Karl Glassman continues his drum roll through\n the very last note (apparently, Toscanini did this in a performance \nwith the NBC Symphony Orchestra in 1938, but never repeated it again).\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe concert on 1 March had opened with Alan Shulman’s \u003cb\u003eA Laurentian Overture. \u003c\/b\u003eHe\u003cb\u003e \u003c\/b\u003ewas\u003cb\u003e \u003c\/b\u003ea\n cellist in the NBC symphony orchestra from 1937 until its disbandment \nin 1954, although he enlisted for military service during 1942-1945. He \nwas also a composer (1915-2002). He had sent the score, which is \ndedicated to Tallulah Bankhead, to Cantelli on 6 June 1951 and Cantelli \nindicated in his reply dated 10 August that he had already decided to \ninclude the work in his concerts with the New York Philharmonic \nOrchestra (as it is known today) and possibly the NBC Symphony Orchestra\n as well: this he did. It may not be a great work, but it is one of \nthose compositions which can delight audiences (even some critics as \nwell) although, sadly, it did not find its way into the accepted \nrepertoire. The outer sections are rumbustious and the central part has a\n meditative atmosphere. It has that sense of wide open spaces and a \nfeeling that life, although quirky, is very much worth living. Anyway, \nCantelli obviously liked it and the performances with both orchestras \nwere brilliant.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese notes © 2015 Keith Bennett\u003cbr\u003e\u003cbr\u003eKeith Bennett \u003cem\u003eis the \nauthor of Guido Cantelli – Just Eight Years of Fame (published 2009) \nwhich is only available from GC Publishers. For further details either \nwrite to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk \nIP12 4UL, UK or e-mail gcpublishers@keithbennett.waitrose.com\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975442637,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975442701,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975442765,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC457_62b446c0-3300-405c-872a-68d562c83f97.jpg?v=1588842595"},{"product_id":"pasc301","title":"COATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301","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;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 6, \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e March Slave\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Romeo and Juliet Fantasy Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLINKA\u003c\/span\u003e\u003c\/b\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\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 1926-1930\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:46\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_quotefb55cd020f0643f08418183279e63a5fGlowering, gloomy, colourful, exciting and passionate by turns – piece and performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAlbert Coates has always stimulated the interest of the \nhistorically-minded collector. Naturally that is because his \nperformances are stamped with his unique personality – mainly volcanic, \nand often the purveyor of sizzling accelerandi. But there is another \nreason to seek out recordings by him, which is that some are very rare. \nThis may seem puzzling, given the wide currency many projects enjoyed on\n HMV and its American affiliate. But it remains true for a small \npercentage of his recordings and such is the case for all but the \nSymphony in this release.\u003cbr\u003e  \u003cbr\u003e Some may well have acquainted \nthemselves with this Sixth, largely recorded in Kingsway Hall, London, \nand transmitted down the phone line to the Small Queen’s Hall. The \nlightness of bass frequencies has led Ward Marston to boost them \nsomewhat. The pressings are Italian HMVs, quieter than British ones.\u003cbr\u003e  \u003cbr\u003e\n The performance is commanding, charged and full of Coates’s typical \nauthentic-sounding control of the ebb and flow of the music’s syntax. \nIts luscious elasticity burgeons splendidly in his hands, and the LSO \nplays with distinction, if not always immaculate discipline – it hardly \nbothered me when the voltage meter is set so high. The expressive power \nled me to consider what the state of affairs might have been had Coates \nbeen allowed to record Wagner operas in the late 30s, to supplement his \nextensive but creaky sounding earlier performances.\u003cbr\u003e  \u003cbr\u003e HMV was \nstill using bass reinforcements at this time, despite the fact that this\n was an electrical recording. Maybe the land line recording encouraged \nthem still further in the belief that a galumphing bass was needed, but \nto our ears it most certainly isn’t. So the demerit of the second \nmovement is the huffing and puffing element engendered by the \nunnecessary bass, whilst the plus is the often lovely and affectionate \nstring portamentos. Coates is typically in his element in this work, and\n directs the finale with huge and communicative élan. If you listen \ncarefully you can hear the first movement side change following which a \nlater recording was used, not taken via landline. You can also hear the \nperfectly appropriate side join at around 4:20 in the finale.\u003cbr\u003e  \u003cbr\u003e After the incendiary delights of Coates’ Sixth, we turn to the rarities. \u003cem\u003eMarche Slave\u003c\/em\u003e is jubilant and proto-Ivesian in its mesh of sounds. It’s a rare disc, recorded in October 1930. \u003cem\u003eRomeo and Juliet\u003c\/em\u003e\n was recorded in October 1928. It’s glowering, gloomy, colourful, \nexciting and passionate by turns – piece and performance. It was, for \nsome reason, only ever issued on Czech HMVs. Lucky them! The filler was \nGlinka’s \u003cem\u003eRuslan and Ludmila\u003c\/em\u003e overture – not as amazing as Mravinsky’s, but showing Coates in dynamic form once again.\u003cbr\u003e  \u003cbr\u003e Fine transfers ensure that Coates’ message comes across loud and clear.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC301.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\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\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\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\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\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\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\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\/PASC301.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC301.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":14116554047549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116554080317,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC301_4dbe1709-c003-408d-94de-77a5fc1347e8.jpg?v=1554801438"},{"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":"pasc439","title":"HUBERMAN plays Tchaikovsky and Lalo (1928-34) - PASC439","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Violin Concerto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eLALO\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphonie Espagnole\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBrahms, Chopin, Sarasate, Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e and \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eZarzycki\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\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 and live recordings, 1928-34\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:03\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBronislaw Huberman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilliam Steinberg ∙ Staatskapelle Berlin\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorge Szell ∙ Vienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSiegfried Schultze\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\n\u003c\/span\u003e\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_quotefb55cd020f0643f08418183279e63a5fThe performances are unique. There really was no other violinist quite like Huberman578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI can join a long line of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecritics\n (as well as many others) in praising these recordings, which have been \nclassics since they were made (the Tchaikovsky in 1928, the Lalo in \n1934, and the miniatures 1929–1932). You can go to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n and read enthusiastic raves (and excellent descriptions too) by John \nBauman in 12:4 and 16:5 (the latter the Lalo only), by David Nelson in \n14:4, and Lynn René Bayley in 36:6. Bayley’s review was of a Japanese \nreissue on the Opus Kura label, and I was able to make a direct A-B \ncomparison between the Opus Kura and the Pristine. More importantly, I \nwas able to compare the Pristine with the excellent Naxos transfer of \nthe Tchaikovsky made by Mark Obert-Thorn (paired with a less successful \ntransfer of the Huberman\/Szell Beethoven Concerto) issued in 1999. \nWhatever comparison you make, this now becomes the preferred version of \nboth of these big works, with the miniatures making a lovely bonus. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Opus Kura transfer was noisy and a \nbit harsh. Their engineers obviously took a minimalist approach to \nremoving surface noise from the original 78s, and one admires the purism\n of that style of transferring. However the result had a distracting \namount of noise, and frankly also a hardness of tone to Huberman’s \nplaying and the orchestral strings. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Naxos transfer from 1999 was the \nbest to that date of the Tchaikovsky, and it stood the test of time for \nwell over a decade. The Lalo has never had a truly first-rate transfer. \nBut Andrew Rose has trumped all of his predecessors. There is less noise\n on the Tchaikovsky than is audible on Naxos’s transfer, but Rose has \nmanaged to remove that noise without negatively affecting the sound of \nthe soloist or orchestra. And his XR stereo approach adds some air and \nspace to the overall soundstage without detracting from clarity or \npresence. It is difficult to imagine that anyone will ever make these \nsound better, though I suppose I might have said that after the Naxos \nTchaikovsky release. At any rate, this is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eversion to have of these two classic performances.  [\u003ci\u003e*see note below\u003c\/i\u003e]\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performances are unique. There \nreally was no other violinist quite like Huberman, and you can get a \nsense of that from reading the reviews in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive that I cited above. Huberman could produce a beautiful, rich tone (listen to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n the Lalo or the Canzonetta of the Tchaikovsky), but beautiful tone was \nnot the centerpiece of his art. Huberman was, in my view, about \nspontaneous flair, spur-of-the-moment drama that nonetheless didn’t pull\n the piece out of shape. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI think this is the very first \nrecording of the Tchaikovsky Concerto. That it has remained available to\n the public on various labels on both LP and CD in the 87 years since it\n was made already makes a statement about its quality. Huberman’s highly\n individual use of portamento and rubato, his phenomenal ability to \nemploy a spiccato technique with a musicality and accuracy that are \nuncanny, his feel for the ebb and flow of Tchaikovky’s line, and the \nfeeling he conveys that he is composing the music as he plays it, \ncombine to make this an extremely important and valuable recording of a \ncornerstone of the repertoire. The Canzonetta is a model of how to use \nrubato effectively to enhance a melodic line. Other critics have \nobserved that Huberman did not concern himself with “elegance,” with the\n niceties of avoiding occasional scrapings or edgy sounds. He was, \nfrequently, going for excitement and creating musical fire, and if a bit\n of beauty were to be sacrificed, all well and good. However much you \nadmire and enjoy Heifetz, Oistrakh, Milstein, Elman, or any other master\n violinist, it is essential that you know this recording. It is unlike \nany of the others. William Steinberg’s flexible accompaniment, and \norchestral playing with a real sense of occasion about it (after all, \nmaking a complete recording of a violin concerto was not an everyday \noccurrence back in 1928) add to the total. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Lalo is perhaps not as definitive a\n recording, if only because it followed the then common practice of \nomitting the third movement Intermezzo. Still, that same sense of \n“making it up on the spot,” a kind of excitement of discovery of the \nmusic that we rarely get in performances, is present here. And George \nSzell, by treating the score with the same respect he might give a \nMozart or Beethoven concerto, and by getting razor-sharp playing from \nthe Vienna Philharmonic, also makes a major contribution to the whole. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne can feel a smile in the face during\n the playing of the miniatures. Clearly Huberman is having fun with the \nSarasate and Zarzycki pieces (I wish Pristine had included what I \nconsider to be Huberman’s greatest recording—Sarsate’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), and all are transferred with a more natural sound than previous efforts. They make a lovely bonus. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eFor anyone to whom the violin is an \nimportant instrument, and to anyone for whom the Tchaikovsky and\/or Lalo\n works are important pieces in the repertoire, this is a release of \ntruly historic importance. “Historic” can be an overused word, but in \nthis case it applies perfectly. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003ci\u003e*NB. This is a mono release prepared for Pristine by Mark Obert-Thorn, not, as the reviewer mistakenly implies, an XR Ambient Stereo release remastered by Andrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC439.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHuberman's magnificent Tchaikovsky and Lalo - and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"T\u003cspan class=\"TIMES\"\u003ehis is a release of truly historic importance\u003c\/span\u003e\" - Fanfare\u003cbr\u003e\"There are no greater violin recordings in existence\" - Gramophone\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBronislaw Huberman’s 36-year recording career began with four sides \nfor Berliner in 1899 and continued in a series of piano-accompanied \nacoustics for American Brunswick (1921 - 1925).  But it was not until he\n started making electrical recordings for Columbia in Europe (1928 – \n1935) that he was first heard on disc with orchestra.  The Tchaikovsky \nConcerto presented here comes from his first session for the label; but \nthere would be a hiatus of six years before he would record any more \nconcertos, and the rest were all done in a group of concentrated \nsessions in a single month.\u003c\/p\u003e\u003cp\u003eDuring a ten-day period from June 13th through the 22nd in 1934, \nHuberman recorded the two Bach violin concertos and the Mozart 3rd under\n Issay Dobrowen (all on Pristine PASC 397), followed by the Beethoven \n(PASC 421) and the present Lalo \u003cem\u003eSymphonie espagnole\u003c\/em\u003e with George\n Szell.  The sessions were a logistical nightmare:  the hall was often \nin use for other functions; the orchestra was playing at a special \nfestival every night; and Szell had to commute between Vienna and \nPrague, where he conducted evening performances after spending the days \nrecording. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAdded to this was Huberman’s own highly-strung temperament.  As \nColumbia A\u0026amp;R rep Rex Palmer wrote to his London home office at the \ntime, the violinist “broke down in the middle of a record on innumerable\n occasions, and even after obtaining a [completed] master he needed 5 or\n 10 minutes rest before anything further could be done.”  Despite the \nvarious tribulations, Huberman produced classic accounts of all the \nworks recorded, not the least of which was the Lalo.  Through the rather\n over-reverberant hall sound and occasional technical imperfections of \nthe original recording, we hear a performance of great panache and \ndazzling, insouciant virtuosity. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Tchaikovsky Concerto shows another aspect of Huberman’s art.  \nCritic Hans Keller famously called the violinist “part gypsy, part \nsaint”; and while the Bach concertos embody the latter quality, the \nTchaikovsky is perhaps the best example of the former.  No soloist today\n would dare to play the work with the kind of rough-hewn individuality \nand disciplined abandon that Huberman brings to it.  When we hear it, we\n are reminded anew why we listen to historical recordings.  Huberman is \npartnered here with the conductor then known as Hans Wilhelm Steinberg, \nwith whom he would go on to co-found the Palestine Symphony Orchestra \n(later to become the Israel Philharmonic) some eight years later.\u003c\/p\u003e\u003cp\u003eAfter his recording career reached a premature end, Huberman would \ncontinue to play the concerto repertoire in concerts, some of which were\n broadcast and preserved on disc.  A Mozart 4th under Bruno Walter \nsurvives (PASC 397), as does the Brahms with Rodziński (PASC 421), \nanother Beethoven with Leon Barzin and, just a year before his death, \nanother Tchaikovsky with Ormandy.  Unlike those performances, fine as \nthey are, the recordings on this collection catch him at the height of \nhis powers, before the 1937 plane crash that injured his hands.  They \nstand as a testament to one of the greatest of all violinists and \nrecreative artists.\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\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eHUBERMAN: TCHAIKOVSKY Violin Concerto, LALO Symphonie Espagnole\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        Encores by Brahms, Chopin, Sarasate, Tchaikovsky and Zarzycki\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cstrong\u003eColumbia Studio Recordings ∙ 1928 – 1934\u003c\/strong\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e TCHAIKOVSKY: Violin Concerto in D major, Op. 35\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro moderato – Cadenza (16:04)\u003cbr\u003e2. 2nd Mvt.: Canzonetta: Andante (6:06)\u003cbr\u003e3. 3rd Mvt.: Finale: Allegro vivacissimo (6:00)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eStaatskapelle Berlin ∙ William Steinberg\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 10px;\"\u003eRecorded 28 \u0026amp; 30 December 1928 in the Beethovensaal, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix nos.: WAX 4509-2, 4510-1, 4511-1, 4512-2, 4513-2, 4514-1 \u0026amp;\n    4515-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2335 through 2338\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4. \u003cstrong\u003eTCHAIKOVSKY: Mélodie, Op. 42, No. 3\u003c\/strong\u003e (3:29)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 22 February 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 4671-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2338\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    5.\n    \u003cstrong\u003e\n        CHOPIN (arr. Huberman): Waltz in C-sharp minor, Op 64, No. 2\n    \u003c\/strong\u003e\n    (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 22 February 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 4672-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LX 137\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n6. \u003cstrong\u003eBRAHMS (arr. Joachim): Hungarian Dance No. 1 in G minor \u003c\/strong\u003e    \u003cstrong\u003e \u003c\/strong\u003e(3:01)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 7 February 1932\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: IDWA 9155-5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LB 8\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    7.\n    \u003cstrong\u003e\n        SARASATE: Romanza andaluza (No. 1 from \u003cem\u003eDanzas españolas\u003c\/em\u003e, Op.\n        22)\n    \u003c\/strong\u003e\n    (4:39)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 10 June 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 5006-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2332\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. \u003cstrong\u003eZARZYCKI: Mazurka in G major, Op. 26\u003c\/strong\u003e (4:22)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 11 June 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 5011-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2332\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eSiegfried Schultze (piano) \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLALO: Symphonie espagnole, Op. 21\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt.: Allegro non troppo (7:22)\u003cbr\u003e10. 2nd Mvt.: Scherzando: Allego molto (3:49)\u003cbr\u003e11. 4th Mvt.: Andante (6:02)\u003cbr\u003e12. 5th Mvt: Rondo: Allegro (7:54)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eVienna Philharmonic Orchestra ∙ George Szell\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 10px;\"\u003eRecorded 20 \u0026amp; 22 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix nos.: WHAX 39-3, 40-2, 41-2, 42-1, 43-3 \u0026amp; 44-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LX 347 through 349\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBronislaw Huberman (violin)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\n    Additional restoration and pitch stabilisation by Andrew Rose\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 72:04\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC439.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC439.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":14167871389757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14167871422525,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC439_1e2ce042-89d4-4b33-815c-d28714f3c727.jpg?v=1556784961"},{"product_id":"paco099","title":"KHAIKIN Tchaikovsky: Eugene Onegin (1955) - PACO099","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;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Eugene Onegin\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 in Moscow, 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2:21:58\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;\"\u003eEugene Belov\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Eugene Onegin\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;\"\u003eGalina Vishnevskaya - \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eTatiana\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;\"\u003eIvan Petrov \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Prince Gremin\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBolshoi Theatre Orchestra and Chorus\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eConductor -  \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Boris Khaikin\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Khaikin performance retains its position as one of the essential recordings of this beloved opera. This Pristine release is probably the best way to hear it. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis classic 1955 Melodiya recording \nhas been reissued a good many times on CD, twice by Melodiya itself, \ntwice on the Opera d’Oro label, and by Preiser, Myto, BMG, Legato, and \nBravissimo. As a performance, it has not been superseded by more recent \nrecordings. Since the performance is a known quantity, the main issue \nwith this release is how it compares in sound quality with other \nreissues. Andrew Rose of Pristine Audio has obtained remarkable results \nwith many historical recordings. Here he has achieved considerable but \nnot total success. In comparison to the earlier Opera d’Oro release \n(1999, still available), where the balance is very much skewed toward \nthe upper end, Pristine’s XR Ambient Stereo remastering offers a more \nspacious, rounded, and realistic sound, with more body on the voices and\n the strings and more inner detail. (I classify this release as mono \nbecause the Ambient Stereo technique does not seek to divide the musical\n information between two channels but rather to recover hall ambience \nfrom the mono recording.) I don’t have perfect pitch, but I note that \nthe timing for the first act is one minute longer in Pristine’s version,\n and a similar discrepancy exists for the other two acts. Since I know \nthat Rose takes a lot of care in such matters, I would tend to assume \nthat his release is pitched correctly, but this is an issue I cannot \nresolve with certainty. I think Rose has overdone it in boosting the \nbass, however, resulting in touches of boominess that are audible right \naway in the act I Prelude. He also hasn’t succeeded in taming the \ntraditional Melodiya glare on the upper frequencies, which lends \nshrillness to the female voices in his remastering as well as the Opera \nd’Oro version. Fortunately, this is less of a problem in Tatiana’s \nLetter Scene. The dynamic range seems a bit more limited on the Pristine\n release, noticeable in the peasant choruses in the first act. The \nPristine reissue was dubbed from Melodiya LPs and presumably reflects \nthe dynamic characteristics of its source. What source Opera d’Oro used \nis unknown. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Bravissimo reissue is part of a \nvery inexpensive 14-disc set, coupled with four other vintage \nRussian-opera recordings. The fact that its overall timings are \nidentical to those of Opera d’Oro suggests a common source, as do the \noccasional faint clicks heard on both versions (Opera d’Oro and \nBravissimo are both part of the Allegro group). But the Bravissimo sound\n is better balanced, with a bit less glare on the voices, although still\n colorless compared to the Pristine. The best of the non-Pristine \nalternatives I have on hand is Melodiya’s own latest reissue (catalog \nno. 10 1945). In place of the fullness and richness of sound achieved by\n Pristine, it offers a brighter, more open sound with greater clarity of\n texture, a strong but not exaggerated bass, and a wider dynamic range. \nThere is also somewhat less of that high-frequency glare, but the voices\n seem thinner, lacking the degree of body and solidity conferred by \nPristine. The timings are the same as for the Opera d’Oro and Bravissimo\n versions. It is difficult to choose between the very different Pristine\n and Melodiya presentations of this venerable recording. I’ll keep them \nboth, but if forced to choose I would go for the Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the performance, Boris Khaikin’s\n fluent, urgent, and dramatically charged leadership is a major plus. \nThe cast is a reminder that in this repertoire there is no substitute \nfor singers who are accustomed to performing in Russian and completely \ncomfortable with the language, as opposed to those who are coached in \nRussian pronunciation with greater or lesser success for an occasional \nRussian role. It allows one to hear Galina Vishnevskaya at the height of\n her very considerable powers and the great lyric tenor Sergei Lemeshev,\n perhaps a bit past his prime but still compelling, in what were \nsignature roles for each of them. As Tatiana, Vishnevskaya offers \npassion, dramatic effectiveness, and a beautiful but characteristically \nRussian sound with a strong chest register. In the letter scene, she \nevinces strength and determination as well as vulnerability and longing,\n leaving no doubt as to how this young girl could transform herself into\n the regal Princess Gremina of the final act. In his confrontation with \nOnegin at the Larins’ ball, Lemeshev conveys Lensky’s rage and \nfrustration powerfully but without hysteria. His aria in the duel scene \nis full of expressive nuance and projects the poet’s utter despair \nwithout becoming saccharine, as it sometimes can be. In Gremin’s aria, \nfew competitors come close to the majestic Ivan Petrov, with his \ncombination of unsurpassed weight, solidity, and beauty of tone and \nmoving expressivity. Although less renowned than the others, Evgeny \nBelov (not “Eugene,” as Pristine, Opera d’Oro, and Bravissimo have \nit—since when do we translate the names of performers?) is a dignified, \nproficient, and accurate Onegin, with strength and solidity over his \nentire range, although his tone is somewhat monochromatic. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Pristine CDs, like all of the \ncompetitors mentioned, do not come with a libretto, although those who \norder this recording via download get a PDF vocal score. One demerit in \nPristine’s production values is that in an effort to make the lettering \non the front insert look sort of Russian to the uninformed, Rose has \nrendered the names of the performers virtually unintelligible to both \nEnglish and Russian speakers. Some of the characters used do not exist \nin either the Russian or the Latin alphabet, and where actual Russian \nletters are used they are misplaced. For instance, the first name of \ntenor Andrei Sokolov is begun with a Russian “D,” which bears a slight \nresemblance to an “A.” Mezzo Larisa Avdeeva’s last name gets the same \nridiculous treatment. One must turn to the rear insert for a readable \nlisting of the performers, and there is more phony Russian lettering \nelsewhere in the package. Rose promises that this release is “the first \nin a planned series of Soviet operatic recordings transferred and \nremastered from Melodiya pressings.” I welcome the announcement, but I \nhope that in future releases he will dispense with this kind of \nnonsense, which detracts from the seriousness and quality of the \nenterprise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn 35:2 I discussed some of the stereo \nrecordings of this opera, concluding that I could not recommend a stereo\n recording and suggesting instead that collectors turn to Khaikin’s mono\n version. I now find, however, that I was too hard on the 1984 Bolshoi \nperformance led by Gennady Cherkasov, on the Alto label. I faulted the \nconductor and the sound quality, but on further hearing I think \nCherkasov’s leadership, if somewhat cautious, is efficient and precise. \nThe recording, made not in the Bolshoi Theater but in a Moscow Radio \nstudio, is too bright and lacking in bass presence, with balances that \nsometimes place the orchestra too much in the background, but it still \nallows one to appreciate the efforts of an excellent all-Russian cast \nthat includes Yury Mazurok, Tamara Milashkina, Tamara Siniavskaya, \nVladimir Atlantov, and Evgeny Nesterenko. The recordings led by Semyon \nBychkov (Philips or Decca) and James Levine (DG) have some value, but \nfaulty Russian pronunciation by at least some of the principal singers \nin each case precludes a general recommendation. One stereo recording I \nhad not heard when I wrote the earlier review is the Sony set conducted \nby Emil Tchakarov, which is better recorded than Cherkasov’s \nperformance. The solid cast, mostly Bulgarian but with Mazurok repeating\n the title role and Nicolai Gedda as Lensky, has few problems with \nRussian pronunciation. Anna Tomowa-Sintow is convincing as Tatiana and \nsuccessfully scales down her voice to impersonate a sensitive, \nvulnerable young girl, more so than the vocally sumptuous but very \ncommanding and mature-sounding Milashkina. Tchakarov’s pacing is often \nleisurely, although not as much so as Valery Gergiev’s in this past \nseason’s Met broadcast, and is generally effective, only rarely \nbordering on the lethargic. True \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOnegin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n aficionados will also want the pre-war Bolshoi recording on Naxos, \nespecially notable for the idiomatic leadership of the two conductors \ninvolved, Aleksandr Melik-Pashaev and Aleksandr Orlov, the kinder, \ngentler, less declamatory Onegin of Panteleimon Nortsov, the appealing \nTatiana of Elena Kruglikova, and the distinctive Lensky of Ivan \nKozlovsky. The sound of Kozlovsky’s voice is something of an acquired \ntaste, but he delivers sensitive lyricism and dramatic power as \nrequired. Even in Ward Marston’s remastering for Naxos, however, the \nsound quality is several cuts below that of the Khaikin recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eNotwithstanding this competition, the \nKhaikin performance retains its position as one of the essential \nrecordings of this beloved opera. This Pristine release is probably the \nbest way to hear it. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDaniel Morrison\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:5 (May\/June 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO099.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003ePristine's Soviet Series: Khaikin's 1955 Eugene Onegin\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eClassic Melodiya recording from the Bolshoi Theatre in new 32-bit XR remaster\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis is the first in a planned series of Soviet operatic recordings \ntransferred and remastered from Melodiya LP pressings, and as such is a \nnew experience for me. I know the Red Army was able to acquire a good \nnumber of German taped recordings at the end of the war, and with them \none assumes the technology to play them, but beyond this my knowledge of\n Soviet recording technolody is very slender.\u003c\/p\u003e\u003cp\u003eThis recording, made in 1955 in the Bolshoi Theatre, is a fine \nexample of what they could do, and stands equal to any Western \ncontemporary in its technical quality. That said, it remains resolutely \nof its era, and XR remastering has worked wonders with the tonal quality\n of the recording. I've also gently relieved a rather dry acoustic that \ndid the soloists few favours.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eTCHAIKOVSKY Eugene Onegin, Op. 24\u003c\/b\u003e\u003cbr\u003eRecorded in 1955\u003cbr\u003eBolshoi Theatre, Moscow\u003cbr\u003e\u003cbr\u003eTransfers from Melodiya LPs \u003cbr\u003eD 011287 - 011292\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eEugene Belov \u003c\/b\u003e- Eugene Onegin\u003cb\u003e\u003cbr\u003eGalina Vishnevskaya\u003c\/b\u003e - Tatiana\u003cb\u003e\u003cbr\u003eIvan Petrov \u003c\/b\u003e- Prince Gremin\u003cb\u003e\u003cbr\u003eSergei Lemeshev\u003c\/b\u003e - Lensky\u003cb\u003e\u003cbr\u003eLarissa Avdeyeva\u003c\/b\u003e - Olga\u003cb\u003e\u003cbr\u003eValentina Petrova \u003c\/b\u003e- Larina\u003cb\u003e\u003cbr\u003eEugena Verbitskaya\u003c\/b\u003e - Philipyevna\u003cb\u003e\u003cbr\u003eGeorgi Pankov\u003c\/b\u003e - Captain\u003cb\u003e\u003cbr\u003eIgor Mikhailov\u003c\/b\u003e - Zaretsky\u003cb\u003e\u003cbr\u003eAndrei Sokolov\u003c\/b\u003e - Triquet\u003cb\u003e\u003cbr\u003eNikolai Timchenko\u003c\/b\u003e - Precentor\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eBolshoi Theatre Orchestra and Chorus\u003cbr\u003eChorus Master  -  Mikhail Shorin\u003cbr\u003e\u003cbr\u003eConductor  -  Boris Khaikin\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Galina Vishnevskaya\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\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\/PACO099.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO099.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":32534982413,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32534982477,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32534982541,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32534982605,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO099_3cc3ca30-7528-4189-ad10-56644b07bba0.jpg?v=1487759214"},{"product_id":"pasc420","title":"KONDRASHIN Tchaikovsky \u0026 Shostakovich Concertos (1958\/60) - PASC420","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;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 1\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;\"\u003eSHOSTAKOVICH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cello Concerto No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1958 \u0026amp; 1960\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 62:35 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eKirill Kondrashin, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVan Cliburn, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMstislav Rostropovich, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRCA Victor Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCzech Philharmonic Orchestra\u003c\/span\u003e\u003cbr\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\u003c\/span\u003e\u003c\/div\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA major reissue578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003ePristine\u003c\/strong\u003e has\n            now turned their attention to two important recordings by Kiril Kondrashin,\n            his collaboration with Van Cliburn in Tchaikovsky's\n        Concerto No. 1, and Mstislav Rostropovich in  Shostakovich's\n        Cello Concerto No. 1. The Tchaikovsky, recorded in Carnegie Hall March\n        30, 1958, is a landmark in the recording industry.  It was the first\n        classical\n        recording to sell more than a million copies and eventually sold more\n        than three million. And for good reason. The Texas-born pianist was a\n        legend for winning the 1958 First International Tchaikovsky Competition.\n        He insisted that Kondrashin, who had accompanied his performances in\n        Russia, conduct the recording. The Russian live performances are available\n        on video\": Rachmaninoff concertos 2 and 3 \n        and Beethoven\u003cem\u003e Emperor\u003c\/em\u003e, Brahms No. 2 and the Tchaikovsky.\n        \u003cstrong\u003ePristine\u003c\/strong\u003e's XR remastering has provided a richer audio\n        picture easily superior to the manifold previous issues of this major\n        recording. Rostropovich\n        gave the  American premiere of the Shostakovich Concerto No.\n        1 with Eugene Ormandy\n        and the Philadelphia Orchestra. and\n        recorded the work in November 1959, most recently reissues on \u003cstrong\u003eSony\u003c\/strong\u003e. \u003cstrong\u003ePristine\u003c\/strong\u003e offers\n        the cellist's second recording from a concert performance May 24, 1960\n        with the Czech Philharmonic\n        under Kondrashin. This has been reprocessed with effective \"ambient stereo.\"\n        A minute of applause is included.. A major reissue. \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC420.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKondrashin is the master accompanist in two classic recordings with Van Cliburn and Rostropovich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Their Tchaikovsky ... has tremendous authority, and in this Kondrashin's accompaniments are a major asset.\" - Gramophone, 1999\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eIt is always fascinating to look back and see how a legendary \nrecording was first received, and leaving aside comments on performance \nfor this note, one can only agree with the criticism of the recording's \ntone, hence my decision to imrpove this as much as is possible using XR \nremastering. RCA's sound on their more recent issues is certainly an \nimprovement over the original LP but still left a lot to be \ndesired.Meanwhile the Shostakovich - which I originally discovered on a \nPeriod Showcase LP credited to a different orchestra -  was considerably\n worse. Both have improved greatly here.\u003c\/p\u003e\n\u003cp\u003eWhile the major artistic draws of this release are of course the two \nillustrious soloists, it was the common thread of conductor Kirill \nKondrashin which first drew me to these LPs in my collection, hence the \nfocus on him here. A great soloist needs a great accompanist conductor \nat his or her side if they are to work well together to produce a truly \ngreat concerto performance.\u003c\/p\u003e\n\u003cp\u003eHere are indeed two great performances, with two great soloists - and one excellent conductor and master accompanist.\u003c\/p\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\u003eTCHAIKOVSKY \u003c\/b\u003ePiano Concerto No. 1 in B flat minor, Op. 23\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVan Cliburn, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003eRCA Victor Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 30 May, 1958\u003cbr\u003eCarnegie Hall, New York City\u003cbr\u003eIssued as RCA SB-2006\u003cbr\u003eA stereo recording\u003c\/p\u003e\n\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSHOSTAKOVICH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003eCello Concerto No. 1 in E flat major, Op. 107\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMstlislav Rostropovich, \u003c\/b\u003ecello\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 29 May 1960\u003cbr\u003eSmetana Hall, Municipal House, Prague\u003cbr\u003eIssued as Period SHO ST 337\u003cbr\u003ePresented in Ambient Stereo\u003cbr\u003e(NB.Although\n billed as a stereo release on some issues, including the Period LP, the\n recording appears to be sourced from a mono Czech radio broadcast. The \nPeriod issue credits \"Moscow State Orchestra\" but offers no further \ndetails. We have taken the information presented here from a later \nSupraphon release.)\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\u003eKirill Kondrashin\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\/PASC420.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC420.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":31975740237,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975740301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975740365,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC420_cccf12ea-5ff3-47e4-a934-dd51099b50b7.jpg?v=1487682308"},{"product_id":"paco112","title":"KOVELEV Tchaikovsky: Voivoda (The Voyevoda) (1952) - PACO112","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;\"\u003eTCHAIKOVSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eVoivoda (\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Voyevoda\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\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\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 recording · 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:20 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarya Vlassievna - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eN. Rozhdestvenskaya\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOlena - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eL. Legostaeva\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eBastrukov - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eA. Orfenov\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eDubrovin - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eA. Korolev\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eVoivoda - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eD. Demianov\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChoir and Orchestra of Radio Moscow\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAleksey Kovalev\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe mature Tchaikovsky’s distinctive operatic voice is already emerging, and his characteristic style is instantly recognizable578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTchaikovsky’s first opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Voyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVoevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), not to be confused with his much later “Symphonic Ballad” of the same name or with Rimsky-Korsakov’s opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePan Voyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, is based on the play \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Voyevoda, or A Dream on the Volga \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSon na Volge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n by the well known and prolific Russian playwright Aleksandr Ostrovsky \n(1823–1886). Ostrovsky, who participated in crafting the libretto for \nthis Tchaikovsky opera, was also responsible for the play on which \nRimsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Snow Maiden\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is based. Sources differ on whether \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Voyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was well received or a complete failure when premiered by the Bolshoi \nTheater in 1869. It did receive some favorable notices, but the composer\n himself was dissatisfied with it and withdrew it after five \nperformances. He subsequently recycled some of the music in such works \nas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Oprichnik, Swan Lake\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e1812 Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and others, and burned the score of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Voyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n His younger colleague Anton Arensky achieved some success in setting \nthe same libretto (using the play’s alternate title) in the 1880s. \nNotwithstanding his effort to suppress it, Tchaikovsky’s early opera was\n not allowed to die and during the Soviet era was reconstructed from \nsketches and vocal and orchestral parts. According to Richard Taruskin, \nthere were two such reconstructions, the first by Sergei Popov in 1927 \nand a later one by a team consisting of the musicologist Pavel Lamm and \nthe composers Vissarion Shebalin and Yury Kochurov. The excerpts \nreissued by Pristine were recorded in 1952. Melodiya recorded the \ncomplete opera in 1982, as part of a project to issue all of the \ncomposer’s works on disc. Neither of these releases makes clear which of\n the reconstructions is used, but I would presume it to be the later \none. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opera is set in the 17th century in\n an unnamed province on the Volga River, and deals with the efforts of \nthe tyrannical and lascivious \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evoyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (military governor) Nechai Shalygin to force Marya Vlasyevna, the \nbeautiful daughter of the wealthy merchant Vlas Diuzhoi, into marriage \nwith him. He has already abducted Olena, the wife of Roman Dubrovin, \nanother townsman. Dubrovin conspires with Marya’s fiancé, the young \nboyar Stepan Bastriukov, to rescue their women from Shalygin’s clutches \nduring his absence. Their plan is disrupted by his unexpected return, \nbut popular unrest over his misrule impedes his effort to regain control\n of the situation. Word then arrives from Moscow that the Tsar has \nordered Shalygin removed from power and has sent a new \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evoyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to replace him. The opera concludes amid general rejoicing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI must confess that I have had the 1982\n recording on Melodiya LPs in my possession for decades but never got \naround to playing it. My listening for this review is thus my first \nencounter with the opera, and given the composer’s inexperience at this \npoint in his career, I am pleasantly surprised by the quality of much of\n the music. The mature Tchaikovsky’s distinctive operatic voice is \nalready emerging, and his characteristic style is instantly \nrecognizable. The melodic writing is often influenced by the Russian \nfolk idiom, and several actual folk melodies are incorporated. Even \nbefore completing the opera, Tchaikovsky became disillusioned with its \nsubject matter, finding that it was “shorn of dramatic interest and \nmovement,” but the libretto does provide many opportunities for \npassionate outpourings and colorful, evocative genre scenes, of which he\n took full advantage. It is true that there are some stretches of \nroutine or repetitious writing, and some of Tchaikovsky’s reservations \nabout the libretto seem well founded. It is surprising, for example, \nthat in the final act, when the lovers are reunited, most of the \nattention is devoted to Dubrovin and his wife, with the ostensible hero \nBastriukov and his beloved moved to the background. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe excerpts on the Pristine disc \ncomprise less than half the opera, and those who opt for that release \nalone will miss out on a good deal of interesting, colorful music. In \naddition to the Overture, Pristine provides a bit less than half of act \nI, nothing from scene 1 of act II, three-quarters of scene 2, and less \nthan half of act III. There are also several internal cuts in the \nsegments included on the Pristine reissue. Both recordings offer \neffective, energetic, dramatically charged leadership, good orchestral \nand choral work, and fine casts. Under conductor Aleksei Kovalev, the \norchestra in the earlier performance plays with more spontaneity and \nabandon, while Vladimir Kozhukhar, in the 1982 recording, secures \ngreater precision and imposes tighter control. Both Daniil Demianov \n(Pristine) and Vladimir Matorin (Melodiya) possess strong, powerful bass\n voices and are excellent in the title role; Demianov’s slightly \nabrasive timbre suits the role well, and he is the more menacing of the \ntwo. In the tenor role of Bastriukov, Anatoly Mishchevsky has the more \nheroic voice, albeit with some fast vibrato that can roughen his tone a \nbit and with some effortful high notes. He projects the character’s \nanger and desperation powerfully in his second-act aria (not included on\n the Pristine disc). Anatoly Orfenov’s instrument is “whiter” and \npredominantly lyric in character, reminiscent of such contemporaries as \nSergei Lemeshev and Ivan Kozlovsky in its timbre. As Marya, both Natalya\n Rozhdestvenskaya (Pristine) and Galina Kuznetsova (Melodiya) exhibit \nthe traditional bright upper range and full chest voice of Russian \nsopranos, with a minimum of the proverbial Slavic wobble. Except for a \nbit of strain in a couple of high notes, Kuznetsova is eloquent in the \naria “The nightingale sings so loudly in the grove,” which Marya sings \nwhile a captive of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evoyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n We don’t get to hear Rozhdestvenskaya in that number; she appears only \nin duets and ensembles on the Pristine disc. Liudmila Legostaeva \n(Pristine) and Iuliia Abakumovskaya (Melodiya) display fine mezzo voices\n in the role of Olena; that of Abakumovskaya is warmer and richer in \ntone. The role of Dubrovin is given to bass Aleksei Korolev in the \nearlier recording and to baritone Oleg Klenov in the later one. The part\n lies a bit high for Korolev, but he handles the high notes well and \ndelivers his third-act aria with passion and fervor. Klenov, too, is \nexcellent, almost matching Korolev in tonal weight. Other sonorous bass \nvoices are heard in the role of the merchant Diuzhoi, in which Leonid \nZimnenko (Melodiya) and Konstantin Poliaev (Pristine) are equally \nconvincing. On Melodiya, Nina Isakova is excellent in the mezzo role of \nNedviga, Marya’s nurse (not included in the Pristine excerpts). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI do not have the original LP from \nwhich Pristine’s reissue is derived, but the sound of the Pristine disc \nis certainly better than one would expect from a Melodiya recording of \nthis vintage. The traditional Melodiya glare is substantially reduced \nalthough not eliminated, and the reissue offers a more spacious ambience\n and detailed texture than is typical of early 1950s Melodiya LPs. The \nvoices are solid and well defined and free from distortion. Still, even \nafter the ministrations of Pristine’s Andrew Rose, the 1952 recording is\n hardly competitive with the later stereo version in terms of sound \nquality. The 1982 recording, although still overly bright and sometimes \nglaring, predictably offers still more spaciousness, depth, and detail \nas well as superior dynamic range. Its greater clarity is very \nbeneficial in the dense texture of the ensembles, although reverberation\n sometimes blurs the voices a bit in peaks. The balance in the later \nrecording places the orchestra more strongly in the picture when \naccompanying the vocalists, which is also desirable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine renders the title of the opera as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVoivoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which Rose states is the way it is given on the cover of the Melodiya \nLP used in his transfer, but this transliteration makes little sense \neither phonetically or orthographically. The word should be \ntransliterated as either \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evoyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evoevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e; I prefer the latter version, as it conforms to Library of Congress transliteration rules, but I defer here to past \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e usage. Rose also perpetuates the asinine practice, in the title \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePristine Soviet Series\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n of writing the letter “R” backwards in a misguided effort to simulate \nRussian lettering. The letter of the Russian alphabet that resembles a \nbackwards “R” is not an “R” at all and has no relation to that letter. \nIt is a letter called “ya” that is pronounced that way and is also the \nRussian equivalent of the pronoun “I.” Writing the “R” backwards does \nnot make something Russian. It shows that the perpetrator hasn’t a clue \nabout Russian. Lovers of Russian opera have reason to be grateful to \nRose for his refurbishment of older Melodiya recordings, but this \nfoolishness detracts from the seriousness of his enterprise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Melodiya CD set also has some \npresentation issues. There is, of course, no libretto (Melodiya never \nprovides one). The synopsis offered is sketchy, and the notes are \nperfunctory. The synopsis attributes the announcement that Shalygin has \nbeen deposed to “old boyar Bastriukov” (i.e., Stepan’s father), but no \nsuch character is mentioned in the cast list of either recording. \nAccording to the vocal score I consulted, it is the new \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evoyevoda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n himself who makes the announcement. The original Melodiya LP release \nincluded relevant excerpts, albeit untranslated, from the 1961 book \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChaikovskii i muzikal’nyi teatr\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (Tchaikovsky and Musical Theater) by N. Tumannaya, the most detailed \ndiscussion of this opera I have come across. Given the rarity and \nobscurity of this opera, it would have been helpful to include this \ninformation with the CD reissue as well. There is also much inept \nEnglish translation in the Melodiya CD booklet. The most obvious example\n is that the word\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e kartina\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is translated as “picture,” with act II thus divided into “picture 1” \nand “picture 2.” That is indeed one of the meanings of this word, but in\n the context it obviously means “scene.” Both Pristine and Melodiya need\n better language consultants. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eNotwithstanding these complaints, \ndevotees of the operatic Tchaikovsky will find both these releases \nessential. If limited to one, I would opt for the 1982 recording, since \nit is a performance of comparable quality overall, in superior sound, \nand, of course, complete. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO112.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFirst recording of highlights from Tchaikovsky's 'lost' first opera, Voivoda\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eKovalev conducts a cast of Soviet stars in this special 1952 production of the restored score\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eTchaikovsky's first opera, \u003cem\u003eVoivoda\u003c\/em\u003e as titled on the original Melodiya LPs but now more commonly written \u003cem\u003eThe Voyevoda\u003c\/em\u003e\n is one of his most obscure works, largely thanks to his destruction of \nthe score. To the best of my knowledge there has been one full \nrecording, also originating in the USSR, and this early double-LP set of\n highlights or \"fragments\", which I understand to have been produced for\n radio broadcast. In terms of sound quality it's very much of its age \nand origin - not bad, but soon to be eclipsed by recordings made later \nin the decade. That said, I've heard far worse from western record \ncompanies working in the early 1950s!\u003c\/p\u003e\u003cp\u003eI've managed to breathe quite a bit of life into a slightly  dull and\n dusty original, whilst battling against peak distortion at higher \nfrequencies during some of the tracks. The titles used for the various \ntracks here are listed exactly as written on the Melodiya LPs.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eVoivoda (\u003cem\u003eThe Voyevoda\u003c\/em\u003e) Op. 3 - Fragments from the opera \u003c\/span\u003e \u003cem\u003e \u003c\/em\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMarya Vlassievna - \u003cb\u003eNatalya Rozhdestvenskaya\u003c\/b\u003e\u003cbr\u003eOlena - \u003cb\u003eLyudmila Legostaeva\u003c\/b\u003e\u003cbr\u003eBastrukov - \u003cb\u003eAnatoly Orfenov\u003c\/b\u003e\u003cbr\u003eDubrovin - \u003cb\u003eAleksey Korolev\u003c\/b\u003e\u003cbr\u003eVoivoda - \u003cb\u003eDaniil Demianov\u003c\/b\u003e\u003cbr\u003eNew voivoda - \u003cb\u003eMikhail Skazin\u003c\/b\u003e\u003cbr\u003eJester - \u003cb\u003ePiotr Pontriagin\u003c\/b\u003e\u003cbr\u003eFather of Marya Vlassievna - \u003cb\u003eKonstantin Poliaev\u003c\/b\u003e\u003cbr\u003eMother of Marya Vlassievna - \u003cb\u003eZ. Sokolovskaya\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMoscow Radio Choir and Orchestra\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eAlexei Kovalev\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProbable broadcast recording, 1952\u003cbr\u003eTransfer from Melodiya D.034303-06\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\/PACO112.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO112.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSynopsis578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003eThe Voyoveda - a brief synopsis\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cb\u003eAct I.\u003c\/b\u003e\n Praskov'ia, Vlas Diuzhoi's daughter, is betrothed to Nechai Shalygin, \nthe Voevoda [the town's governor], while her sister Maria is secretly in\n love with Bastriukov, his enemy; the Voevoda disturbs their tryst. In a\n matchmaking scene, the Voevoda sees Maria for the first time and \nchooses her over Praskov'ia, whereupon Bastriukov decides to abduct \nMaria. At his signal, she comes to him, but they are foiled by Vlas and \nthe Voevoda, who restrain Maria but fail to subdue Bastriukov and his \nmen.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cb\u003eAct II.\u003c\/b\u003e\n Bastriukov is pining for Maria when Dubrovin arrives; he has suffered \nthe Voevoda to kidnap his wife and himself to be persecuted. They plan a\n double abduction for the next night, when the Voevoda will be away on a\n pilgrimage. In the women's quarters, Maria sings of a captive young \nwoman desiring freedom; Dubrovin's wife, Olena, enters and tells Maria \nof the plan. The other women return and perform a dance-song.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cb\u003eAct III.\u003c\/b\u003e\n The two couples are reunited and sing an apostrophe to the night. \nDubrovin and Olena exchange assurances. As they sing of the night again,\n they are interrupted by the Voevoda, who has returned early. Dubrovin \nthreatens him and is disarmed. The lovers decide to die rather than part\n again. The Voevoda orders the men held and leads Maria to the women's \nquarters. As she attempts to break free, fanfares announce the arrival \nof a new voevoda, who puts matters right amid general rejoicing.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRoland John Wiley, \u003cem\u003eTchaikovsky\u003c\/em\u003e (Oxford University Press, 2009, p.67)\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_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003eSleevenotes: Russian Melodiya LP\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eIn \nJanuary 1866, after completing his studies at the St. Petersburg \nConservatory, on Nikolai Rubin­stein's suggestion P. Tchaikovsky moved \nto Moscow. In the autumn of the same year he became profes­sor at the \nMoscow Conservatory that had just been founded.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eOf \nall the artistic diversions that Moscow could offer Tchaikovsky showed a\n special liking for the Maly Theatre. At that time many plays of \nOstrovsky, whose creative work Tchaikovsky had learned to admire and \nunderstand when he was still living in St. Petersburg, were staged by \nthe Theatre. Dwelling of his impressions of the productions of the Maly \nTheatre, Tchaikovsky wrote in a letter to his brothers the following: \n\"Never before have I experienced such artistic joy as I experience at a \ndramatic per­formance.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eAt \nthat time the artistic, musical and literary circles of Moscow were \nclosely connected with the \"Moscow Artistic Society\", founded by A. \nOstrovsky and N. Rubinstein and it was here that Tchaikovsky became \nacquainted with many actors of the Maly Theatre. Very soon the composer \nwas introduced to A. Ostrovsky and already in December 1866 Tchaikovsky \nwrote the music to the latter's historic play \"False Dmitri and Vassily \nShuisky”, produced by the Maly Theatre.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFrom\n the very first days of his residence in Mos­cow the composer was fired \nwith the idea of wri­ting an opera and in his letters pertaining to that\n period he complained that he could not find a suitable libretto. As \nTchaikovsky had by that time become friendly with the famous playwright \nit was only natural that he should want to cooperate with him. At first \nTchaikovsky wanted to ask Ostrovsky to write a libretto based on his \ndrama \"The Storm\" which the composer especially admired but as it turned\n out that the libretto had been already wri­tten for another composer \nOstrovsky suggested that he write a libretto based on another play of \nhis entitled \"The Voivoda or Dream on the Volga.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\"The\n Voivoda\" is a historic play of manners. The action takes place in the \n17th century in a town si­tuated on the bank of the Volga. The play \nlacks historic characters and the manners and everyday life of the \npeople of that period are portrayed in a generalized way. The leading \ncharacter of the play is Voivoda Nechai Shalygin, the vice-gerent of the\n tsar and a ruthless and profligate man. His ty­ranny, stupid wilfulness\n and cruelty have long roused the indignation of the town-dwellers and \nfree-men headed by the robber Roman Dubrovin, who had recently 0scaped \nfrom prison into which he had been thrown on the Voivoda's orders. The \ninhabitants of the town send their messengers to the tsar in Moscow with\n a letter in which they complain about Shalygin's evil deeds.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eBut \nRoman Dubrovin and Stepan Bastrukov have their own scores to settle with\n the Voivoda for Stepan's betrothed Marya Vlassievna and Dubrovin's wife\n Olena are held prisoners in Shalygin's house.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eChoosing\n a night when Shalygin is away from home the plotters make the watchmen \ndrunk and steal in­to the garden that surrounds the Voivoda's house with\n the aim of freeing the two women. Quite unexpectedly Shalygin returns \nhome. Spending the night in an inn he saw a prophetic dream and de­cided\n to return home immediately. It would seem that after they were caught \nin the act of entering the Voivoda's house the fate of Dubrovin and \nBast­rukov was sealed, but luckily the messengers return from Moscow \nwith the tsar's orders according to which Shalygin is deprived of his \npower and a new Voivoda is nominated. The denouement of the play is \nwrought with satire: some of the townsfolk say: \"The old Voivoda was bad\n enough, what will the new one be like?\" and other people answer them, \nsaying: \"He'll be like the old one, or maybe even worse!\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eIn \nMarch 1867, on receiving the text of Act I from Ostrovsky, Tchaikovsky \nbegan to work at the opera but very soon his work was interrupted by \nunforeseen circumstances: the composer lost the ma­nuscript of the \nlibretto. All attempts to find the lib­retto were in vain and in the end\n Tchaikovsky had to tell the playwright of his loss. Ostrovsky, who \nalways held the composer in high esteem agreed to write another text but\n as he was extremely busy (he was writing a libretto to Serov's opera \n\"Enemy forces\" at the time) his work on the libretto was delayed.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eLater\n Tchaikovsky described the way he comple­ted the opera in a letter to \nhis friend and pupil, S. Taneyev. He wrote: \"This very kind man \n(Ostrov­sky) wrote the first act and first scène himself. I started to \nwrite the music but after I had written any more. But is so happened \nthat Menshikova, the first act I became disappointed both in the plot \nand the music and decided to abandon the opera al­together and in this \nway I did not bother Ostrovsky singer, was looking for a new opera for \nher bene­fit performance and she managed to persuade me to finish the \nopera and so then I somehow put toget­her all the rest of the \nfragments.\" It this way the score of \"The Voivoda\" was ready for \nproduction only in the summer of 1868. The première took pla­ce on \nJanuary 30, 1869 in the Bolshoi Theatre and was successful though the \nperformance left much to be desired. The newspapers printed a number of \nreviews praising the composer. Musicologist Odoevsky made the following \nentry in his diary: \"This opera is a promise of Tchaikovsky's great \nfu­ture\".\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThe \ncomposer himself was not too pleased with his opera. Tchaikovsky saw \nmany shortcomings in this musico-scenic work; the libretto was poorer \nthan the play as it lacked many important episodes (for instance its \nsocial and political aspect di­sappeared entirely) and the music, too, \ndid not sa­tisfy him. Tchaikovsky said in his writings: \"The opera was \nwritten in a hurry and somewhat tho­ughtlessly and because of this its \nstructure lacks the qualities necessary for a scenic work.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eAfter\n the fifth performance Tchaikovsky took his score from the theatre and \nlater burned it. Some fragments of the music he later used in other \nworks (the opera \"Oprichnik\" and ballet \"Swanlake”). Apart from this, \nimmediately after the premiere of the opera, the composer wrote a piano \n\"Potpurri\" that combines some tunes of the opera.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eIn \nour time the score of the opera \"Voivoda\" was restored by Soviet \ncomposers V. Shebalin and Y. Kochurov in cooperation with musicologists \nS. Popov and P. Lamm. They re-created Tchaikov­sky's first opera basing \ntheir effort on a number of scores for the orchestra, choir and soloists\n that had been preserved in the archives of the theatre. In 1949 the \nrestored opera \"Voivoda\" was staged by the Maly Opera Theatre in \nLeningrad.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e* * *\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eIn \n1952, on N. Golovanov's suggestion, soloists of Moscow theatres and the \norchestra and choir of Moscow Radio conducted by A. Kovalev recorded \nsome fragments from the opera \"Voivoda'' and the recording has been \nincluded in this album.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eMelodiya D. 034303-06 (as written)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417469389,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417469453,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417469517,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417469581,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO112_d648f737-0fa9-4bc1-8ca3-e81f24cc1583.jpg?v=1487682326"},{"product_id":"paco101","title":"ORLOV Tchaikovsky: The Oprichnik (1948) - PACO101","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Oprichnik \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recording · 1948\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 42:29\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ePrince Zhemchuzhny\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Alexei Korolyov\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eNatalia\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Natalya Rozhdestvenskaya\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMoscow Radio Soloists, Choir and Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAleksandr Orlov \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\n\u003cbr class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUrgently, even passionately, recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBack in 37:1 I reviewed a c. 1980 stereo recording of Tchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Oprichnik \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003econducted\n by Gennady Provatorov. In recommending that at the time as a first \nchoice over the only two other recordings ever made, I commented on this\n premiere recording from 1948 as follows: “The conducting is first-rate;\n the vocal cast is solid but overall inferior to the one on this \nrecording; the recorded sound is quite good for its provenance; and a \ncouple of minor cuts (about 10–15 minutes of music) are made to the \nscore. Regrettably, it is one of the few historical Soviet-era opera \nrecordings that has not yet made its way onto CD, though it should; an \nMP3 download version is now available on Amazon.” As fortune would have \nit, a short time later Andrew Rose of Pristine Audio announced that he \nhad received a collection of historic Russian opera recordings and would\n be refurbishing and reissuing those on his own label. I wrote to him \npost-haste to ask if the 1948 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOprichniki\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n might be among them. Not only did he indeed have it, but in response to\n my request he moved it to the front of the production line, and here \nyou have the splendid result. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Splendid” is indeed the right word. \nWorking from an original Melodiya LP set rather than the \nsecond-generation Ultraphone knock-off once available in the USA, Rose \nhas lifted a suffocating sonic shroud and brought out far more sound \nthan I ever would have imagined possible. Of course, nothing will ever \nturn a 1948-vintage Melodiya recording into something comparable to the \nbest European and American recordings of the same era: There is still \nthe harsh edge to the treble range, particularly in the violins, and \nsome blaring and shattering from the brass. But even so, the sound is \nnow far more natural, with particular benefit to the voices. A \nparticular oddity I have encountered (and for which I wish I had a good \nexplanation) is that a poor LP mastering of an opera will selectively \nmake some but not all of the singers’ voices appear to have uneven \nvibratos or other flaws. That was the case in this set, with \nRozhdestvenskaya, Legostayeva, and Tyutyunnik seeming to have incipient \nwobbles and Polyaev, Korolyov, and Tyutyunnik sounding rather harsh and \ndesiccated. Having no other basis at the time than the Ultraphone set on\n which to judge them, I assumed that their voices were indeed unevenly \nproduced and accordingly endorsed the Provatorov recording as the \nsuperior alternative. But with Rose’s XR sonic wizardry at work, those \ndefects have vanished; except for Konstantin Polyaev, whose production \nremains slightly diffuse, all the singers are now revealed to have firm,\n steady voices (though both Rozhdestvenskaya and Legostayeva have a few \nslightly strained top notes), and the baritones and basses, while not in\n the league of Pavel Lisitsian or Mark Reizen for richness and beauty, \nhave far more body and amplitude than one might have thought. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eEven more to the point, all the singers\n also have a vibrancy of vocal character that has become smoothed out to\n a more generic sound in singers of subsequent generations. While \nperhaps not as technically polished at certain points, the singing is \nconsequently more impassioned and interesting. Thus, while Natalia \nRozhdestvenskaya (the mother of famed conductor Gennady Rozhdestvensky) \nas Natalie has a more metallic and less beautiful voice than does Tamara\n Milashkina under Provatorov, she turns that to her advantage by using \nit to present a character who is more apprehensive and less naïve in \nnature and thus more of an active than passive participant in the \naction. Lyudmilla Legostayeva likewise has more body and bloom than does\n the otherwise estimable Larissa Nikitina for Provatorov, and the two \nbassos bring out more of a comic dimension to their brief parts in the \nopening scene. But perhaps the most striking characterizations are those\n of the legendary Zara Dolukhanova as Basmanov and the little-known but \nsuperb Boris Tarkhov as Andrei, the latter in particular wielding a \nringing, thrilling, dramatic tenor of a sort that has become all too \nrare nowadays (though Lev Kuznetsov is likewise excellent, and Raisa \nKotova as Basmanov quite fine as well, under Provatorov). With the \nexceptions of the roles of Natalie and Prince Vyazminsky, where the \nsingers in each set have countervailing virtues and flaws that cancel \none another out and lead to a draw, I would now reverse my previous \njudgment and give a slight but clear edge to the singers in this set for\n every other role. The choral work also is excellent. Aleksandr Orlov’s \nconducting reminds me of Yevgeny Svetlanov—unsubtle and sometimes a bit \nraw, but full throttle on the dramatic tension and emotional commitment \nsuch a score needs in order to have its proper effect. In sum, this \nrelease is a major and long overdue landmark in the CD discography of \nRussian opera. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBecause the Provatorov recording is \nexcellent in its own right, has modern stereo sound, and does not have \nthe minor cuts in acts II and III that this recording has, I can’t say \nthat one now should unconditionally put it aside and make this version a\n first choice for this opera. I can and definitely will say that this \nrelease is the best sung version overall, and a must-have acquisition \nfor any devotee of Tchaikovsky and Russian opera. I also wish to \ncompliment Rose for a singularly fine choice of cover art for this \nrelease, an excellent reproduction of a 19th-century painting, “The \nOprichniki,” by Nikolai Vasilyevich Nevrev (1830–1904). It brings back \nfond memories of the days when Angel\/Melodiya LPs often featured \nreproductions of 19th-century paintings by Russian artists on their \njacket fronts. Both the breaks between discs and the track points are \nsensibly chosen and superior to those on the Aquarius release of the \nProvatorov recording. In each of the past two years, a Pristine Audio \nrelease has just missed making my annual Want List. The third time is \nnow almost certainly the charm; barring something else truly \nextraordinary appearing at the last minute, this set has a sure lock on \none of the five slots for this year. Urgently, even passionately, \nrecommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena\u003cbr class=\"TIMESb\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTchaikovsky frequently wrote large \nworks with intense enthusiasm, only to react with revulsion upon their \ncompletion. That was the case with his opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Oprichnik \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n 1874, following its tumultuous success. He expressed disgust with the \nviolence of its plot, and his music’s manipulation of his audience. \nLater he would change his views and write another, still more violent \nopera, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePique Dame\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n whose music manipulated audiences with great success. Expressive \nextremes that manipulate audiences are, after all, something his music \ndoes well, whether in his operas, symphonies, or chamber music. (The \nonly opera of his that avoids all the violence and emotive extremes, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIolanta\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, was his last and arguably his worst.) And, in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Oprichnik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Tchaikovsky does it very effectively indeed. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eA tale of love, murder, loyalty, and revenge, with a conclusion that could have been lifted from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIl trovatore, The Oprichnik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a numbers opera with a pronounced Russian folk cast to its themes \nand harmonic progressions. Shock-horror it is in its fourth act, but \nthere’s a fine, light touch at many points in its first act, and a \nvariety of interesting personalities pursuing their own agendas along \nthe way. Tchaikovsky writes not only arias and dances, but several \nextended, complex scenes for individual characters, with a musical focus\n no less successful than in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eYevgeny Onegin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, premiered in 1879. By my very personal reckoning, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Oprichnik \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003estands in a tie for first place among the composer’s operas, alongside \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Enchantress\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. It’s just ahead of two others that are tied for second: the uneven but frequently insightful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOnegin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Maid of Orleans\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, of which the first two acts contain some of the finest operatic music Tchaikovsky ever wrote. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSadly, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Oprichnik \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas\n received very few recordings over the years. This slightly cut one from\n 1948 has singing that ranges from good to spectacular. At the top end \nis a youthful Zara Dolukhanova in the trouser role of Basmanov. She \ndispatches it with a breezy, characterful zest that contrasts \nwonderfully with another part she recorded that same year, the fiercely \nvigilant Kascheyevna in Rimsky-Korsakov’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKashchei the Deathless\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Her even production is missing from Natalia Rozhdestvenskaya, and the \nlatter has problems with singing full throttle too much. There’s more \nemotional range to Natalia than is caught here, though Rozhdestvenskaya \nhas all the passion one could wish for. Lyudmilla Legostayeva sounds a \nbit thin and vinegary in her lower register, but finds the resonance to \n“take stage” in the more climactic moments of her act II aria. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong the men, I’ve never cared for \nKonstantin Polyaev, one of those “To emote, I have to ignore the written\n line” singers, but his role is largely insignificant. By contrast, it’s\n great to hear Alexei Korolyov with a firm, resonant voice, 14 years \nbefore his finely characterized but vocally aged Tsar Dodon in \nMelodiya’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Golden Cockerel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Boris Tarkhov was in that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGolden Cockerel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n too, where his easy top served him well as The Astrologer. Here, his \nhard, white tone is the only significant drawback in a well-modulated \nperformance, with some good metal as sporadically required. He was one \nof many excellent Soviet tenors to jostle for business over the next \ndecade, including Kozlovsky, Lemeshev, Ivanovsky, Kromchenko, Nelepp, \nMakhov, Vinogradov, Orfenov, Khanaev, Maslennikov, Alexandrovitch, and \nOgnovoi. It’s no wonder many ended up with few major roles to their \ncredit in complete opera recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlexandr Orlov, who had been conducting since 1902, died later in the year this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOprichnik \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas made. Each of his complete opera recordings (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOnegin, Lakmé, La traviata, Oprichnik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) demonstrates that he was a real veteran in the opera pit, adept at seconding his singers, if not as insightful as Golovanov. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose, who restored and produced \nthis rerelease, praises its sound—rightly, in my opinion—as “remarkably \nsuccessful for its day.” One might add, it was remarkably successful \nconsidering how erratic Melodiya operatic and orchestral recordings \ncould be, then and for the next 20 years. At times they seem to have \nbeen made in caverns, or under water, or with miking so distant it might\n as well have been phoned in. Rose notes a thinness to male voices and \nsome peak distortion early on, and gave it just a bit of reverberation \nto counteract the dry overall studio sound that was one of the few \nconstants where Melodiya engineering was concerned for so very long. The\n result is clean, forward, and a little better than my 1970s LP pressing\n of this recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOprichnik \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n definitely worth the purchase. The performances are nothing if not \ninvolved, and there are good things to say about all the singers, \nespecially Dolukhanova and Tarkhov. Rose is typically fastidious. \nPristine Audio also supplies the vocal score as a download. It can chalk\n up another success with this release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBarry Brenesal\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO101.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Oprichnik: Tchaikovsky's elusive third opera in its first recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eA roaring success when first performed - one of only four complete recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis was the first of only a very small number of recordings of \nTchaikovsky's third opera, one of his least-known, to have been made. \nEven today, \u003cem\u003eThe Oprichnik\u003c\/em\u003e remains an elusive work, and despite a\n small number of relatively minor cuts (mainly in the fourth act) it's \nlargely intact and can thus be seen as a definitive interpretation by \nperformers and, in particular, Aleksander Orlov, a conductor seeped in \nthe history of Russian opera.\u003c\/p\u003e\u003cp\u003eTechnically it's remarkably successful for its day. The Russians, \nlike their western counterparts, were quickly adapting the magentic tape\n technology they found at the end of the war in Germany for their own \nuses, at a time when full-length operas of this magnitude (especially \nforgotten ones) were few and far between in the recorded canon and the \nstandard issue would have been (at a guess) some 40 or more 78rpm sides.\u003c\/p\u003e\u003cp\u003eThe microphones used, particularly for the soloists, appear suspect \nat times, with a tendency to peak distortion and a somewhat thin sound \nfor the male voices against the fuller orchestra and choir. This is less\n apparent later in the opera, and overall it's a very commendable \nproduction. XR remastering and a very light touch of convolution \nreverberation has worked wonders with this occasionally difficult raw \nmaterial.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\"\u003e\u003cb\u003eTCHAIKOVSKY The Oprichnik \u003c\/b\u003e\u003cbr\u003eLibretto: Tchaikovsky, from the play \"The Oprichniks\" (Опричники) (1842) by Ivan Lazhechnikov\u003cbr\u003eSetting: Ivan the Terrible's court during the oprichnina times (1565–1573)\u003cbr\u003eRecorded Moscow, 1948\u003cbr\u003eTransfer from Melodiya 33.D.09821-28\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003ePrince Zhemchuzhny - \u003cb\u003eAlexei Korolyov\u003c\/b\u003e\u003cbr\u003eNatalia - \u003cb\u003eNatalya Rozhdestvenskaya\u003c\/b\u003e\u003cbr\u003eMolchan Mitkov - \u003cb\u003eVsevolod Tyutyunnik\u003c\/b\u003e\u003cbr\u003eBoyarina Morozova - \u003cb\u003eLyudmila Ivanovna Legostayeva\u003c\/b\u003e\u003cbr\u003eAndrei Morozov - \u003cb\u003eBoris Tarkhov\u003c\/b\u003e\u003cbr\u003eBasmanov - \u003cb\u003eZara Dolukhanova\u003c\/b\u003e\u003cbr\u003ePrince Vyazminsky - \u003cb\u003eKonstantin Polyaev\u003c\/b\u003e\u003cbr\u003eZakharyevna - \u003cb\u003eAntonina Kleschtschova\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMoscow Radio Choir and Orchestra\u003c\/b\u003e\u003cbr\u003econductor - \u003cb\u003eAleksandr Ivanovich Orlov\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO101.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO101.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\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAn oprichnik\u003c\/b\u003e (Russian: опри́чник, man aside; plural \nOprichniki) was a member of an organization established by Tsar Ivan the\n Terrible to govern the division of Russia known as the Oprichnina \n(1565-1572). It is thought by some scholars that it was Ivan's second \nwife, the Circassian Maria Temryukovna who first gave the Tsar the idea \nof forming the organization. This theory comes from a German oprichnik, \nHeinrich von Staden. Her brother also became a leading oprichnik.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTheir oath of allegiance was:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cem\u003eI swear to be true to the Lord, Grand\n Prince, and his realm, to the young Grand Princes, and to the Grand \nPrincess, and not to maintain silence about any evil that I may know or \nhave heard or may hear which is being contemplated against the Tsar, his\n realms, the young princes or the Tsaritsa. I swear also not to eat or \ndrink with the zemschina, and not to have anything in common with them. \nOn this I kiss the cross.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOprichniki are regarded as the forerunners of Russian and Soviet secret police.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cb\u003eSynopsis\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eACT I\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eMoscow\u003c\/em\u003e. Boyar Zhemchuzhny's garden. \nZhemchuzhny wants to marry his daughter to the old Boyar Mitkov but \nNatalia loves Andrey Morozov to whom she has been betrothed since \nchildhood days. Slandered by Zhemchuzhny, Andrey's father was executed \nat the orders of Ivan the Terrible and Andrey was deprived of his \ninheritance. To take vengeance against Zhemchuzhny and help Natalia \nescape from home, Andrey, on the advice of his friend, the Oprichnik \nFyodor Basmanov, decides to join the Oprichnina.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eACT II\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eScene 1.\u003c\/em\u003e A cottage to which Andrey and his \nmother moved after their ruin. The proud Boyar loves her son as much as \nshe hates the Oprichnina. Andrey comes home, bringing some money which \nBasmanov has given him. His mother refuses to accept help from an \nOprichnik. Afraid to distress her Andrey tells her nothing of his \nintention to join the Oprichnina.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eScene 2.\u003c\/em\u003e The Alexandrov Sloboda where the tsar has his \nabode. Andrei Morozov is being initiated into the Oprichnina. He \npronounces the formidable vow of loyalty, renouncing his friends and \nfamily, his beloved mother. Among those present is the tsar's favourite,\n cruel Prince Vyazemsky, who has always hated the Morozov family and who\n now intends to take advantage of Andrey's hesitance to bring about his \ndoom.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eACT III\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eThe city square.\u003c\/em\u003e Natalia who has fled her \nfather's house came to beg Andrey's mother for asylum and protection. \nBut the Boyar refuses. Natalia's father overtakes her and orders his \nservants to tie her hand and foot. A group of Oprichniks, Morozov and \nBasmanov among them, come up and free the girl. Andrey's mother now \nunderstands that her son has joined the Oprichnina. She curses him. \nAndrey decides to ask the tsar's permission to leave the Oprichnina.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eACT IV\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eThe Alexandrov Sloboda.\u003c\/em\u003e The Oprichniks are \ncelebrating Andrey's wedding with Natalia. Natalia is filled with alarm.\n The tsar has allowed Andrey to leave the Oprichnina, but the young man \nis bound by his oath until midnight. Before the expiration of the term, \nhowever, Prince Vyazemsky arrives stating that the tsar bids Natalia to \ncome to him. In vain does Basmanov persuade Andrey that this is a test \nof loyalty to the tsar. Andrey refuses to let Natalia go and thus \nviolates his oath.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe guests disperse. Triumphant, Vyazemsky brings in Andrey's mother \nand asks her to look out of the window. Outside a scaffold is being set \nup. The mother sees her beloved son, whom she has cursed, being led to \nhis death. She drops to the floor in a deadly swoon.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA gloomy, solemn chorus of the Oprichniks sings glory to the terrible tsar.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cb\u003eSynopsis from Melodiya LP issue\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417582349,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417582413,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417582477,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417582541,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO101_0ac8e340-0215-4269-a14f-4fd11a78257a.jpg?v=1487682430"},{"product_id":"pasc405","title":"RICHTER Six Russian Piano Concertos (1950-59) - PASC405","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;\"\u003eTchaikovsky \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRimsky-Korsakoff\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRachmaninov \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto \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\u003cspan style=\"font-size: 18px;\"\u003eNo. 1\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\u003cbr\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\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRachmaninov \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concertos \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\u003cspan style=\"font-size: 18px;\"\u003eNo. 2\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\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eProkofiev \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGlazunov \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\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 · 1950-59\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 33:34 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSviatoslav Richter, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeningrad Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMoscow Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMoscow Youth Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eUSSR Radio \u0026amp; TV Large Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eYevgeny Mravinsky - Kirill Kondrashin - Kurt Sanderling, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductors \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine’s remastering is such that no matter what earlier version you have, replacement is justified.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCollectors have long known these \nperformances, which have been available over many years on many \ndifferent labels. In all cases, even BMG’s Melodiya series, the sound \nwas cramped at best, distorted at worst. It was those Melodiya and \nAriola-Eurodisc German pressings that Andrew Rose used as his source, \nbut there is no comparison between those sources and what he has \naccomplished. The sound here is superior, significantly so, in every \nway: orchestral color, dynamic range, piano tone, balance, quietness, \nabsence of wow and flutter, clarity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll of these performances are \nspectacular and should be in any serious piano collection. All were \nmonaural originals from the 1950s, and I have heard Pristine’s transfers\n in their XR stereo version, which is not like the old reprocessed \nstereo of the record industry, but rather a sonic approach that gives us\n a sense of the space of a concert hall without the fake left-right \ndivision. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRichter recorded the Tchaikovsky \nConcerto again, but in my view he never equaled this. Part of the reason\n is the incredibly alert conducting of Mravinsky and deeply committed \nplaying of the Leningrad Philharmonic. But Richter himself seems \ninspired well beyond the level he demonstrated on his rather \nheavy-handed DG recording with Karajan, where you had the feeling that \neveryone involved thought that they were making an important document, \nresulting in a static monument instead of a living performance. The \ncontrasts between the lyrical and the virtuosic are astonishing in this \nperformance. Richter takes off with reckless abandon in, for instance, \nthe central section of the second movement, but he lingers lovingly over\n the poetic passages. And he and Mravinsky hold everything together with\n completely natural gear shifts. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI won’t take excessive \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003espace\n detailing all of these performances. Suffice it to say that Richter’s \nunique blend of a brilliant technique that could do anything he wanted \nand a rare musical insight that led him well beyond mere virtuosity \nmakes each of these performances unique. It is worth noting that the \nRimsky-Korsakov and Glazunov, while not unrecorded, cannot boast \ncompeting recordings on this level of performance. Throughout Richter \nsurprises with the very unusual combination of technical prowess and \ndeep musical insights. Even Prokofiev’s First Concerto, normally simply \nplayed as an athletic display, is given some genuine poetry and careful \nattention to dynamic gradations. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRachmaninoff’s Second Concerto is a gem\n of a performance, though it is probably the most troubling recording \nfrom a sonic viewpoint. There is a degree of distortion and congestion \npresent to a stronger degree than the others, and Richter’s piano tone \nlacks richness. Nonetheless the performance is so focused and \nintelligently thought out (without ever seeming studied or mannered) \nthat one finds oneself respecting this old chestnut anew. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eregular\n readers know that I don’t believe in the concept of a “best” recording \nof any oft-recorded work; music is too complex an art form to rank \nperformances as if they were sports league outcomes. But I can say that \nevery performance in this set is well above the ordinary, and is \nreflective of one of the great pianists of the 20th century at his very \nbest. In addition, with Mravinsky, Kondrashin, and Sanderling he has \nsome of the finest conductors of that era on the podium. In all cases \nyou sense a genuine musical interaction between Richter and his \nconductors. There are occasional moments of orchestral scrappiness, \nparticularly where the Moscow Youth Orchestra is playing. But those same\n youths play with a degree of passion and involvement that is inspiring.\n Pristine’s remastering is such that no matter what earlier version you \nhave, replacement is justified. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC405.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSix brilliant Russian concertos - Richter at his best in the studios of Soviet Russia\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Richter's playing is magnificent ... I wouldn't want to be without this recording\" - Fanfare, 1990 \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese recordings were all made by Melodiya for LP (and, presumeably \nin the case of the earliest, 78rpm) issue in the USSR in the 1950s, at a\n time when Richter was just about unknown in the West. They include a \nnumber of works for which these are his sole recordings - perhaps most \nnotably the first Rachmaninov concerto - as well as in the case of the \nTchaikovsky, possibly his finest recorded interpretation of this major \nwork.\u003c\/p\u003e\u003cp\u003eThe sources for these transfers were all near-mint German reissues \nmade in collaboration between Ariola-Eurodisc and Melodiya some years \nlater, and benefit from far superior vinyl pressings than were available\n in the original Soviet issues. Even so, the original recordings were \nnot perfect, and I've had to deal with a certain amount of peak \ndistortion and wow and flutter throughout most of the series.\u003c\/p\u003e\u003cp\u003eWhat I have also been able to recover in these XR remasters has been \nfar superior overall sound quality than was apparent in any of the \noriginal recordings. Whilst this is especially true in the later issues,\n even the very earliest, 1950 recordings have also shown significant \nimprovements.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003ePiano Concerto No. 1 in B flat, Op. 23 \u003cbr\u003eLeningrad Philharmonic Orchestra - Yevgeny Mravinsky\u003cbr\u003eRecorded 28 July, 1958 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eRIMSKY-KORSAKOV \u003c\/b\u003ePiano Concerto in C sharp minor, Op. 30\u003cbr\u003eMoscow Youth Orchestra - Kirill Kondrashin\u003cbr\u003eRecorded 17 February, 1950 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003e Piano Concerto No. 1 in F sharp minor, Op. 1\u003cbr\u003eUSSR Radio \u0026amp; TV Large Symphony Orchestra - Kurt Sanderling\u003cbr\u003eRecorded 18 February, 1955 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eRACHMANINOV  \u003c\/b\u003ePiano Concerto No. 2 in C minor, Op. 19\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eLeningrad Philharmonic Orchestra - Kurt Sanderling\u003cbr\u003eRecorded 18 February, 1959 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003ePROKOFIEV \u003c\/b\u003e Piano Concerto No. 1 in D flat major, Op. 10\u003cbr\u003eMoscow Youth Orchestra - Kirill Kondrashin\u003cbr\u003eRecorded 1952 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003e Piano Concerto No. 1 in F minor, Op. 92\u003cb\u003e \u003c\/b\u003e\u003cbr\u003eMoscow Youth Orchestra    Kirill Kondrashin\u003cbr\u003eRecorded 14 December, 1952\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eSviatoslav Richter\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eTransfer from Melodiya - Ariola-Eurodisc 89 831 XGK\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC405.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC405.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":90080739354,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":90080772122,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":90080804890,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":90080837658,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC405_3d144856-3f9e-4eb3-96e2-77cb04cc5b50.jpg?v=1710338177"},{"product_id":"pasc479","title":"SEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY, GLINKA, RIMSKY-KORSAKOV, LIADOV\u003c\/span\u003e\u003c\/b\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;\"\u003eVictor Studio Recordings ∙ 1941 – 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:00 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIndianapolis Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n  \u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: Fanfare \u0026amp; Audiophile Audition578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA real ballet tour de force in fine sound578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFabien Sevitzky (1891–1967) was a \nnephew of Serge Koussevitzky. He shortened his name at the behest of his\n famous uncle, who apparently did not relish competition from another \nKoussevitzky. (I have to mention, however, that when I was a kid in the \n1950s and heard references to Koussevitzky on the radio, I at first \nthought that his last name was Sevitzky and that his first name was \n“Sergekou.” I had also heard of Fabien Sevitzky, so Uncle Serge’s effort\n to avoid “confusion” didn’t work with me.) As producer Mark Obert-Thorn\n recounts in his note for this release, Sevitzky, like his uncle, was a \ndouble bass player, and he played in the Philadelphia Orchestra from \n1923 through 1930. After taking up conducting, he headed the \nIndianapolis Symphony from 1937 through 1955 and recorded with that \norchestra for RCA Victor and Capitol. This release, containing \nperformances recorded 1941–46, is the first installment in a series that\n is projected to reissue all of his recordings with the Indianapolis \nSymphony. (Pristine has already released Sevitzky’s earlier recordings \nwith the Philadelphia Simfonietta, an ensemble he founded before his \nappointment to the Indianapolis position.) Obert-Thorn, rather than \nPristine proprietor Andrew Rose, is responsible for the audio \nrestorations on the present release, and there is no indication that \nRose’s own techniques, XR and Ambient Stereo, have been applied. \nObert-Thorn, of course, has been a renowned practitioner in the \nrefurbishment of historical recordings for decades. His efforts here are\n eminently successful, and very worthwhile, since the performances on \nthis release are uniformly excellent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opening pages of Glinka’s Overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRuslan and Liudmila\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with their rapid runs, are a test for the violin section of any \norchestra. Here and in the recurrence of this passage later in the \npiece, the Indianapolis players acquit themselves well. It helps that \nSevitzky sets a less breakneck tempo than does Evgeny Mravinsky in \nseveral live performances from the 1960s. That is all for the better, \nfor where Mravinsky sometimes sounds too frenetic, and his orchestra a \nbit pressed, Sevitzky’s ensemble executes these passages smoothly, \nmaintaining poise and discipline and not seeming to scramble. (Mravinsky\n himself adopts a similar tempo in a 1981 performance issued by Erato.) \nSevitzky’s treatment is amply energetic and kinetic, with strong \nrhythmic definition and precise phrasing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s tempo for Rimsky-Korsakov’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDubinushka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is less quick than that of Gerard Schwarz (Naxos), but with more \npowerful stresses and incisive phrasing he generates an urgent momentum,\n and his performance is the grander and more triumphant of the two. \nEvgeny Svetlanov (Warner) adopts a still more expansive tempo but shares\n Sevitzky’s penchant for strong accents and heightened grandeur. If \nforced to choose among these three performances, I would takes \nSevitzky’s tightly disciplined and rhythmically incisive one, which \nsounds amazingly good in Obert-Thorn’s restoration of the 1941 \nrecording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s timing for Anatoly Liadov’s miniature tone poem \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBaba-Yaga\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n depicting the fearsome witch of Russian folklore, is once again a bit \nlonger than in the performances I have for comparison, by Svetlanov \n(Melodiya), Valery Gergiev (Philips), and Mikhail Pletnev (DG). (The \ntimings are Svetlanov 3:25, Gergiev 3:12, Pletnev 3:24, Sevitzky 3:44.) \nNone of the faster performances sound rushed, and Sevitzky’s doesn’t \nsound slow. Less overtly violent than Svetlanov, he generates menace by \ncreating a sense of measured but unstoppable forward motion. The \norchestra once again plays with precision and incisiveness. The sound is\n amazingly vivid for a recording made in 1945, although the dynamic \nrange predictably doesn’t match that of the much later recordings cited.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSevitzky’s 1946 account of the Waltz from Tchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEvgeny Onegin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a grand and celebratory one, with the strong rhythmic backbone the \nprevious selections lead one to expect. He generates stronger tension \nand momentum than does Gergiev, on another Philips disc, and the \norchestra plays crisply and incisively, with precise string phrasing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1942 recording of Tchaikovsky’s stunningly powerful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eManfred Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the first ever complete commercial recording of this work, was \npreviously reissued in Britain by the Historic Recordings label and was \nreviewed enthusiastically by Boyd Pomeroy in 34:3. I concur unreservedly\n with his favorable assessment. The balance in Sevitzky’s recording \nappropriately favors winds and brass, unlike that in the modern stereo \nrecordings by Riccardo Chailly (Decca) and Vladimir Jurowski (LPO), \nwhich partly for that reason often sound too soft-edged for my taste. \n(Winds and brass do get their due in recordings by Riccardo Muti, on \nEMI, and Kurt Masur, on Warner.) Sevitzky’s firm pacing helps to unify \nthis sprawling work. The many tempo shifts built into the piece are well\n integrated, and transitions are skillfully managed. The performance is \nat once tightly controlled and deeply felt, with sustained tension and \ndisciplined, incisive playing from the orchestra. The opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLento lugubre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement is perfectly paced to capture the mood of deep \ndespair. The first climax arrives as a sudden, explosive outburst. The \nlyrical \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nsection, representing a memory of Manfred’s beloved sister and \nincestuous lover Astarte, is very deliberate but shaped with loving \ndelicacy. The raging coda is taken at a comparatively quick pace and is \nespecially violent and shattering. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn his note for this release, \nObert-Thorn comments that “some parts are played much more slowly than \nwe are used to,” specifically, the Trio section of the second movement \nand the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n third movement. I would add that the tempo for the scherzo is also more\n deliberate than usual, although it is quicker in the reprise after the \nTrio. I find that these tempos work. The Trio, depicting an Alpine \nfairy, is enchantingly lyrical, and the broader tempo imparts an \nespecially brooding quality to the intrusion of the grim Manfred theme. \nThe pastoral third movement starts off in a rapturous, bucolic vein, but\n the minor-key episode that soon intrudes has a forceful thrust, and the\n movement builds to an intense passion. In the finale, the opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con fuoco\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n section (and the recurrence of this tempo later in the movement) is \nfast, incisive, and fiery indeed. The evocation of Astarte is once again\n tenderly lyrical, and the final climax, recapitulating the conclusion \nof the first movement, is just as raging and violent as in its original \nappearance. The solemn coda, reflecting Manfred’s redemption in death, \nis firmly paced and not too slow, celebratory rather than pompous. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOn the basis of this release, Fabien \nSevitzky appears to have been an excellent conductor, eminently \ndeserving of renewed attention. In these performances he imposes tight \norchestral discipline and firm tempos, but he also generates rhythmic \nvitality, urgent momentum, and dramatic excitement. The Indianapolis \nSymphony, too, long ensconced as a respected but not renowned member of \nthe second tier of American orchestras, shows itself to have been a very\n fine ensemble in this era. The sound quality of Obert-Thorn’s \nrestorations is good enough that listeners could contemplate purchasing \nthis release simply for enjoyment of the works included, and not just \nfor its historical value. I look forward with eager anticipation to \nfurther releases in this series. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe restoration of the Fabien Sevitzky (nee Koussevitzky) reading of the Tchaikovsky \u003ci\u003eManfred Symphony\u003c\/i\u003e\n (27-28 January 1942) at the Mural Theatre, Indianapolis by audio \nengineer and annotator Mark Obert-Thorn is not the first CD incarnation \nof this performance: it had been issued on the Historic-Recordings.co.uk\n label in 2009 (HRCD 00017) in a transfer by Damien Rogan. Under that \naegis, the gloomy, dramatic symphony inspired by Lord Byron’s 1816 epic \npoem stands alone; here, Obert-Thorn adds – in the first two selections \nfrom 1941 – the earliest of the conductor’s sessions at RCA Victor. \nSevitzky (1891-1967) – nephew of his more illustrious uncle Serge \nKoussevitzky – had studied both with Liadov and Rimsky-Korsakov in St. \nPetersburg, so he had imbibed the Russian style naturally. An avid \ncollector of neckwear, Sevitzky claimed to possess the second largest \nassortment of neckties, after that of the actor Adolf Menjou. The boast \ncame as part of the Indianapolis Orchestra’s appearance at Cornell \nUniversity, 2 December 1940.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe \u003ci\u003eManfred Symphony\u003c\/i\u003e (1886) evolved from the efforts of Mily \nBalakirev to convince Tchaikovsky that the latter could write a \nprogrammatic work after Byron without having become overwhelmed by the \nBerlioz influence. Tchaikovsky balked a number of times, but he finally \nconceded to his own imagination, which had been thwarted for two years \nby his own admiration of the Schumann treatment of the poem as an \nincidental melodrama. Typically, Tchaikovsky utilizes a series of \nleitmotifs to follow the course of his protagonist, who suffers an acute\n form of Romantic Agony.  Manfred pines for his lost beloved Astarte, \nand the various fits of passion enjoy throes worthy of Poe as well as \nByron.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eGiven the modern popularity of the score among such conductors as \nMarkevitch, Maazel, Rachlin, and Louis Lane, some of Sevitzky’s tempos \nseem unconventional. Leonard Bernstein loathed the music, calling it \n“trash.” Toscanini in 1949 performed the work, even extolling its form –\n and then cut well over 100 bars from the last movement. The outer \nmovements from Sevitzky unfold quite sympathetically, and the \nIndianapolis string tone can be elegant. The second movement \u003ci\u003eVivace con spirito\u003c\/i\u003e – Manfred’s meeting with an Alpine fairy – moves from \u003ci\u003eb minor\u003c\/i\u003e to \u003ci\u003eD Major\u003c\/i\u003e,\n and its secondary theme must be counted among Tchaikovsky’s most lovely\n tunes, soon in counterpoint with the “Manfred” motif. The second \nmovement received the attention of Albert Coates who, unfortunately, \nrecorded no more of the work. Sevitzky slows down the romantic theme \nconsiderably, while the outer sections – somewhat in the “flighty” style\n of Mendelssohn – move briskly.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSevitzky’s \u003ci\u003eAndante con moto\u003c\/i\u003e third movement – a \u003ci\u003eG Major\u003c\/i\u003e \nsiciliana much in the bucolic, Berlioz style – moves at a dangerously \nslow pace, threatening at moments to lose the melodic thread. Still, the\n winds and strings preserve a redolent, spatial sensibility, quite \neffective. The last movement means to convey subterranean bacchantes in \nthe presence of Astarte’s shade, and we soon hear Sevitzky’s \nsubstitution of a side drum for the composer’s designated tambourine. \nThe fugal writing cedes more to German academics than to musically \ndramatic logic.  The cymbal crashes prove jarring, as required. The \nManichean progression from dark to light, \u003ci\u003eb minor\u003c\/i\u003e to\u003ci\u003e B\u003c\/i\u003e \u003ci\u003eMajor\u003c\/i\u003e,\n ends with an exalted chorale, Manfred’s transfiguration. For a first \ncomplete rendition of this ambitious and ungainly score, the Sevitzky \nholds up well.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe other Russian items reveal an energetic, fiery personality before the music. The Glinka \u003ci\u003eRusslan and Ludmilla Overture \u003c\/i\u003e(8\n January 1941) bursts forth furiously, well in the manner of Yevgeny \nMravinsky, with a vibrato-rich string tone. The 1905 political-campaign \nsong \u003ci\u003eDubinishka \u003c\/i\u003e(7 January 1941) savors the \u003ci\u003emarcato\u003c\/i\u003e approach, militant and somber. The Indianapolis brass shines here, as well it should. The \u003ci\u003eOp. 56\u003c\/i\u003e symphonic character-piece \u003ci\u003eBaba-Yaga\u003c\/i\u003e by Liadov revives the folk-lore witch-figure, more recently embodied in Keanu Reeves’ film \u003ci\u003eJohn Wick\u003c\/i\u003e.\n The little demon snarls, hops and skips with adequate malevolence in a \nresonant RCA record from 9 February 1945. Tchaikovsky’s \u003ci\u003eWaltz from Eugene Onegin\u003c\/i\u003e\n first impressed me when Beecham’s Royal Philharmonic played it. Then, I\n heard the Waltz with the vocal accompaniment in the opera, led by \nMitropoulos. Here (19 March 1946), Sevitzky keeps the lithe, somewhat \nbreathless, momentum primary, a real ballet tour de force in fine sound.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003ca href=\"https:\/\/www.audaud.com\/fabiren-sevitzky-the-indianapolis-sym-vol-i-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC479.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabien Sevitzky conducts the Indianapolis Symphony\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29 \nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge \nKoussevitzky’s, his original last name was the same, but later shortened\n at his uncle’s request to avoid confusion.  Like him, Sevitzky took up \nthe double bass in order to win a conservatory scholarship.  After \nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s \nPhiladelphia Orchestra in 1923.  Two years later, he organized members \nof the ensemble’s string section into the Philadelphia Chamber String \nSimfonietta.  (Their complete recordings have been reissued on Pristine \nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he \ncontinued to conduct the chamber ensemble until 1941.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSevitzky was appointed conductor of the Indianapolis Symphony \nOrchestra in 1937, a post he held until 1955.  He retired to Florida, \nwhere he became a faculty member at the University of Miami, leading the\n school’s orchestra and continuing to guest conduct internationally.  It\n was during one such appearance in Athens that Sevitzky died on 3 \nFebruary 1967.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony \nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\n were made for Capitol LPs in 1953.  The present program is the first in\n a series which aims to reissue them all, some for the first time since \ntheir initial release.  None of them have ever received an “official” CD\n reissue.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\n Overture comes on like gangbusters, showing off the exuberance and \nvirtuosity of the ensemble and conductor in sound that was \nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\n revolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\n is worth noting that Sevitzky studied under both Rimsky and Liadov at \nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\n he paints a vivid tonal characterization of the same mythical witch who\n inspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e \nSymphony was the first complete version made of the work (Albert Coates \nhad previously recorded the second movement alone), and would remain the\n only one until Toscanini’s 1949 recording, with a cut of some 100 bars \nin the finale, appeared on LP.  It is dramatically paced, with much \nexcitement in the faster sections.  However, some parts are played much \nmore slowly than we are used to.  The third movement’s “Andante con \nmoto” is here more of an “Adagio molto”; and the second movement’s trio \nis not “l’istesso tempo” as marked by Tchaikovsky, but something \nconsiderably slower.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eEven more curious is Sevitzky’s substitution of a snare drum \n(side drum) for the tambourine in the bacchanal which opens the fourth \nmovement.  The conductor could have interpreted the “tamb.” marked in \nthe score as referring to a “tamburo piccolo” or snare drum.  However, \nthe first page of the score spells out “tambourine”, so there should \nhave been no confusion.  Its presence here remains a mysterious \nprecedent that no other known conductor has followed.  (I am indebted to\n writer Edward Johnson for pointing this out.)\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe sources for the transfers were American Victor 78 rpm \nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\n items; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eGLINKA:  \u003cem\u003eRusslan and Ludmilla\u003c\/em\u003e – Overture \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 8 January 1941 \u003cbr\u003eMatrix No. CS 057573-2 \u003cbr\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eRIMSKY-KORSAKOV:  \u003cem\u003eDubinushka\u003c\/em\u003e, Op. 69\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 7 January 1941\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix No. CS 057574-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eLIADOV: \u003cem\u003eBaba Yaga\u003c\/em\u003e, Op. 56\u003c\/b\u003e \u003cbr\u003e Recorded 9 February 1945 \u003cbr\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003c\/b\u003e                                                    Recorded 19 March 1946\u003cbr\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  \u003cem\u003eManfred\u003c\/em\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eRecorded 27-28 January 1942\u003cbr\u003eMatrix Nos. CS 071331-1, \n071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1, \n071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eIndianapolis Symphony Orchestra  ∙  Fabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\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\/PASC479.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC479.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":31975957005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975957069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC479_f7e5074c-a789-4777-8d68-dff4c30f8b30.jpg?v=1487682581"},{"product_id":"pasc490","title":"SILVESTRI in Philadelphia (1961) - PASC490","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Manfred Symphony\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRITTEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Young Person's Guide To The Orchestra\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive stereo recording, 1961\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:37\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConstantin Silvestri, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\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\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fPhiladelphia Inquirer Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHe makes an extremely strong case for the symphony's musical rhetoric578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003eWhere\n do they find this stuff? Once again, Pristine Classical (based in rural\n France) has come up with a superb live Philadelphia Orchestra \nrecording, this time a 1961 concert by Romanian conductor Constantin \nSilvestri, who is not often associated with the United States, much less\n Philadelphia. \u003c\/li\u003e\u003cli\u003e\u003cbr\u003e\u003c\/li\u003e\u003cli\u003eThe repertoire is Tchaikovsky's great problem child, the \nManfred Symphony, considered, a significant work in some circles and a \nwhite elephant in others. The piece was a specialty of Silvestri, and \nthanks to the sonic weight of the Philadelphia Orchestra, he makes an \nextremely strong case for the symphony's musical rhetoric. And, oh, yes,\n some of the tunes aren't bad, either. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDavid Patrick Stearns\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eThe Philadelphia Inquirer\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC490.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eConstantin Silvestri's sole broadcast with the Philadelphia Orchestra - previously unissued\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Once again, Pristine Classical has come up with a superb live Philadelphia Orchestra recording\" - The Philadelphia Inquirer\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eConstantin Silvestri was best remembered for his work in England, most \nspecifically the Bournemouth Symphony Orchestra, a fine ensemble with \nwhich he made a number of recordings. Here we find him with what was at \nthe time one of the greatest orchestras in the world: The Philadelphia \nOrchestra. This superb stereo recording captures his only broadcast with\n the orchestra and may therefore be the only recording of him in \nPhiladelphia. Culled from perfectly preserved master tapes, it follows \nprevious Pristine releases featuring the orchestra in this era under the\n batons of Stokowski and Klemperer in offering the outstanding playing \nof the Philadelphia in stunning performances - most particularly of the \nManfred Symphony - recorded in superb high quality stereo sound and \nrequiring minimal intervention from the restorer to present the present \nprogramme with superlative sonics. \u003cbr\u003e\u003cli\u003e\n\u003cbr\u003eThe programme on 25 November 1961, 55 years to the day prior to this issue, also included a short work by Silvestri himself: \u003cem\u003ePrelude and Fugue Toccata, Op. 17a, No. 2\u003c\/em\u003e.\n Alas this makes for a recording just a couple of minutes too long for a\n single CD - you can instead find it as a free download from our \nwebsite.\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\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\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e Manfred Symphony in B minor, Op. 58\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBRITTEN\u003c\/b\u003e The Young Person's Guide To The Orchestra, Op. 34\u003cbr\u003e(Variations and Fugue on a Theme of Purcell)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003eRecorded live in the Academy of Music, Philadelphia on November 25, 1961\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra  \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConstantin Silvestri,\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\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\/PASC490.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC490.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":31975957389,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975957453,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975957517,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC490.jpg?v=1487682583"},{"product_id":"pacm101","title":"SQUIRE plays Chamber Music: Brahms, Tchaikovsky et al (1924-28) - PACM101","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eClarinet Trio\u003c\/span\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Trio\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDvorák, Harty, Huré, Dunkler \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1924-28\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:24\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eW. H. Squire, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended to collectors of historic recordings - the leading British cellist of his generation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWilliam Henry Squire (1871–1963) was the leading \nBritish cellist of his generation; despite his longevity, however, his \nrecording career seems to have lasted only into the early 1930s. In \naddition to the works offered here, he also recorded concertos of \nSaint-Saëns and Elgar, Beethoven’s “Archduke” Trio (all also available \nfrom Pristine), and numerous shorter works such as the four encores \nincluded on this CD. The recordings here were all made between 1924 and \n1928 for English Columbia, and the two major works were first \nrecordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSquire’s collaborators were all well known as \nwell. Haydn Draper was the nephew of the famous clarinetist Charles \nDraper, who recorded both the Mozart and Brahms Quintets with the Léner \nQuartet; Arthur Catterall and the Australian pianist William Murdoch \nhave both fallen into obscurity, but were leading recording artists of \ntheir day. Hamilton Harty, best remembered as a conductor, was a triple \nthreat, and is documented here in his other two roles, those of pianist \nand composer. He was knighted the year after this recording was made.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDespite the able ministrations of producer Mark \nObert-Thorn, there’s no mistaking the acoustic origin of the 1924 Brahms\n recording; the sound is boxy, with a bit of an edge to Squire’s tone. \nThe balance favors the cello, which probably was closer to the recording\n horn than the other two instruments. Nevertheless, one can tell that \nDraper had a pure sound—the ascendancy of Reginald Kell, who was to \nchange English clarinet playing, for better or worse, for three \ngenerations, was still in the future—and that Harty acquits himself \nwell. The interpretation is rather mainstream, but the tempo of the last\n movement is somewhat unbending, perhaps partially owing to the \nfour-and-a-half minute limitation of the 78-rpm side.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sound is much better in the 1928 recording of \nthe Tchaikovsky Trio, which was extravagantly spread over 12 sides—and \nthat with a sizeable cut in the finale. There is, for the time, an \nunusual amount of reverberation in this recording; Obert-Thorn says in \nhis note that this trio was recorded at a lower level, which might \nexplain the atypical amount of surface noise that remains in the \ntransfer. The performance is more free-wheeling than that of the Brahms,\n with plastic tempos and lots of portamento from both string players. \nMurdoch plays his share of wrong notes; of course, editing of recordings\n was impossible in those days.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe four encores document a kind of cello playing \nnot heard anymore, with frequent, generous slides. Here, far more \nclearly than in the sonically compromised Brahms, or even in the \nTchaikovsky, where the violin predominates, Squire displays a fine tone \nand a tasteful vibrato. The Harty and Dunkler pieces also show that he \nhad a healthy technique.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGiven the limitations of the originals, \nObert-Thorn’s transfers are exemplary; the side joins are undetectable \neven if you know where they are, and aside from the Brahms, the sound is\n as natural as you could hope for, considering the nearly 90-year-old \noriginals. Now perhaps Pristine can be persuaded to devote a CD or two \nto the all-but-forgotten Catterall, who recorded two concertos and four \nsonatas for Columbia in the 1920s. Recommended to collectors of historic\n recordings. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM101.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eW. H. Squire's brilliant chamber music brought back to life by Mark Obert-Thorn\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A splendid virtuoso and also one of the wisest and most broadminded of men\" - Hamilton Harty\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nDuring a recording career that stretched from the late 1890s to the \nearly 1930s, British cellist William Henry Squire (1871-1963) set down \nmany sides of short encore pieces and two cello concertos (the latter \nfeatured on Pristine’s earlier release devoted to Squire, PASC 393).  \nAlthough he, along with violinist Arthur Catterall and pianist William \nMurdoch, made a series of acoustic recordings of movements from chamber \nworks usually abridged to a single side, Squire only participated in \nthree complete chamber music recordings:  Beethoven’s “Archduke” Trio \n(on Pristine PACM 073), and the two A minor trios presented here.\u003cbr\u003e\u003cbr\u003eIt\n is remarkable that at a time during the acoustic recording era when few\n chamber works were available complete on disc, Columbia would have \nchosen to record Brahms’ less well-known Clarinet Trio.  The clarinetist\n is Haydn Paul Draper, nephew and pupil of the more well-known Charles \nDraper (who also recorded chamber music for Columbia around the same \ntime).  Hamilton Harty (not yet “Sir” – his knighthood would come the \nfollowing year) is the pianist, as he was on many of Squire’s solo discs\n in the acoustic era.  Brahms had declared his composing days at an end \nwith his G major String Quintet in 1890; but hearing clarinetist Richard\n Mühlfeld inspired him to write this trio the following year, along with\n his Op. 115 Clarinet Quintet.\u003cbr\u003e\u003cbr\u003eTchaikovsky was initially \nreluctant to write a traditional piano trio, feeling that the sound of \nthe piano did not mesh well with the violin and cello.  However, the \ndeath of his close friend, the pianist\/composer\/conductor Nikolai \nRubinstein in 1881 prompted his Op. 50, his only work with this \ncombination of instruments.  Squire here is joined by British violinist \nArthur Catterall and Australian pianist William Murdoch, frequent \nchamber partners of his both in concert and on disc.  The recording is \nnot quite complete; the Finale section of the second movement was cut to\n about half its length, probably to avoid going to an additional odd \nside.  Based on the ample reverberation to be heard, the session may \nhave been held in Wigmore Hall, as was the Beethoven “Archduke” with \nSammons, Squire and Murdoch from a few days earlier.  However, the \noriginal engineering here seems to be more distant and recorded at a \nlower level.\u003cbr\u003e\u003cbr\u003eConcluding our program are four cello encores of the\n type for which Squire was most famous on disc.  Squire’s frequent \ncollaborator as conductor and accompanist, Harty, is heard here as a \ncomposer.  French organist and composer Jean Huré (1877-1930) wrote his \n“Air” to be accompanied by either piano or organ, and Squire recorded it\n both ways, the first acoustically and the second, heard here, \nelectrically. \u003cbr\u003e\u003cbr\u003eThe sources for the transfers were mainly American\n Columbia discs – a “New Process” set for the Brahms, and “Viva-Tonal” \npressings for the Tchaikovsky, Harty and Huré works.  The Dvǒrák and \nDunkler pieces came from an Australian Columbia disc.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMark Obert-Thorn\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eClarinet Trio in A minor, Op. 114 (acoustic recording)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eH. P. Draper\u003c\/b\u003e (clarinet) ∙ \u003cb\u003eHamilton Harty\u003c\/b\u003e (piano)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 21 October 1924 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: AX 692-1, 693-2, 694-1, 695-1, 696-1 \u0026amp; 697-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia L 1609\/11\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e Piano Trio in A Minor, Op 50, “To the Memory of a Great Artist” \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eArthur Catterall\u003c\/b\u003e (violin) ∙ \u003cb\u003eWilliam Murdoch\u003c\/b\u003e (piano)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 December 1926 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: WRAX 2311-2, 2312-2, 2313-1, 2314-2, 2315-2, 2316-2, 2317-1, 2318-1, 2319-1, 2320-2, 2321-3, 2322-1\u003cbr\u003eFirst issued on Columbia L 1942\/7 \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDVǑRÁK (arr. Grünfeld) \u003c\/b\u003e Songs my mother taught me, Op. 54, No. 4 (from \u003cem\u003eGypsy Songs\u003c\/em\u003e) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003cbr\u003eRecorded March, 1928 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WA 7085. First issued on Columbia D 1620\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHARTY \u003c\/b\u003e Scherzo, Op. 8\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 April 1927 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WAX 2571-2. First issued on Columbia L 2115\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHURÉ \u003c\/b\u003e Air \u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eGeorge Thomas Pattman \u003c\/b\u003e(organ)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 3 October 1928 in the St. John’s Wood Synagogue\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WAX 4128-1. Issued on American Columbia 50214-D\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDUNKLER \u003c\/b\u003e La fileuse (The spinning wheel), Op. 15\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eWith piano accompaniment\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded March, 1928 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: WA 7088\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued on Australian Columbia 03611\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eW. H. Squire\u003c\/b\u003e, cello \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM101.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM101.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBrahms Clarinet Trio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAmong Brahms’ last and most mature works \nare four in which the clarinet is used, with remarkable facility, and \nwith a perfect perception of its powers. His employment of the \ninstrument in this late chamber music was largely influenced by' hearing\n a very fine clarinet player, Mühlfeld. The work is recorded uncut.\u003cbr\u003e\u003cbr\u003eFirst Movement.\u003cbr\u003e\u003cbr\u003eAllegro\n (quick).—Very characteristic of Brahms are both the leading themes used\n in this movement. Their arpeggio nature is a favourite device of the \ncomposer, and the first conforms even more closely to one of his habits \nof mind in building tunes, by com­mencing with the four notes of the \nkey-chord. In order to keep the tonal balance, the ’cello frequently \nplays in its high register, the piano filling up the middle of the \ncompass. The second main theme begins at the top of page 5, on the \n’cello, and is in the major key. The first theme, when it returns after \nthe development (in the ’cello) is considerably altered. In particular, \nthere is an increase of the rushing scalic work of which we had a taste \non the second page, just before the entry of the second subject. The \nquick leaping figures of this movement are finely contrasted with the \nmore broadly moving yet still agile even-beat stepping (cf.. e.g., pages\n 12 and 13). A passage of scales and arpeggios, over piano chords, \nbrings the movement to an end.\u003cbr\u003e\u003cbr\u003eSecond Movement,\u003cbr\u003e\u003cbr\u003eAdagio \n(slow).—Clarinet (answered by ’cello) has a descending- and-mounting \ntheme, in leisurely stride, varied (top of page 15) by another which the\n clarinet has first, in a minor key. The treatment is free, the dialogue\n moving serene and eloquent, unhurried yet unflagging. On page 16 the \nclarinet has a version of the first theme in which its main melody notes\n are emphasised, the smaller, more quickly-moving notes being omitted. \n(The ’cello’s plucked notes here are not quite of the sweetest; and \nthroughout its highest notes have a trace of whine). The leading theme \nis heard again on page 17, bottom line, upon the ’cello. \u003cbr\u003e\u003cbr\u003eThird Movement.\u003cbr\u003e\u003cbr\u003eAndantino\n grazioso {slowish, gracefully).—This is called “ scherzo ” on the \nlabel, but it is more like the older minuet. (Compare its feeling with \nthat of the Mozart B flat Quartet, noticed elsewhere.) It is slight, and\n scarcely of interest equal to that of the other movements. A point of \ninterest is the long sweep of the first tune—an extended melody. After \nthis has been repeated by the piano, a minor-key section ensues, \nfollowed by a partial repetition of the first portion of the movement. \nThen comes a new section, with the clarinet moving in sweeping \narpeggios. A return of the first theme (’cello) brings the movement to \nan end.\u003cbr\u003e\u003cbr\u003eFourth Movement.\u003cbr\u003e\u003cbr\u003eAllegro (quick).—The time is \ngiven as 2\/4 (6\/8)—two in a bar, but the beats sometimes divided into \ntwo parts, sometimes into three. This makes for that diversity of rhythm\n that Brahms was so fond of. The leaping tune that begins (in the \n’cello) comes very often, in some shape or other. So does the \nfive-semiquaver figure that the piano has in the second line. (Already \nwe have our alternation of beat-division, it will be noticed.) At the \nseventeenth bar comes a tune, the complement of the first—leading up (at\n the two bars of slower notes, bottom of page 31) to the second chief \ntheme, distinguished by its being partly two-in-a-bar and partly in \nthree. Its second half (bottom of page 32) is given by piano alone. \nAfter only eight bars of this, the first chief tune returns (piano), its\n complementary portion being delayed by a little development and by a \nkind of “false start” (bottom of page 34), The piano, as before, has \nthis portion to itself. Follows a repetition of the alternated \ntwo-and-three-beat section, in its two parts (second this time given to \nclarinet and ’cello), and a coda wherein some joyous arpeggios round off\n the movement.\u003cbr\u003e\u003cbr\u003eThe only fault I find in the playing is that the \n’cello is sometimes a thought too strong for the reed instrument (most \nbeautifully played); and that the piano tone, though pretty good \n(sometimes notably so) fails on occasion to give full sonority. If any \nare a little surprised to see Mr. Harty in the ranks of pianists, it may\n be recalled that before becoming known as a conductor he was one of the\n finest accompanists we had. His sensitive playing here is in the \nhighest degree effective, and the limitation spoken of, I am sure, is \npurely that of the piano, not of the player.\u003cbr\u003e\u003cbr\u003eK. K., The Gramophone, February 1925\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTchaikovsky Piano Trio\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTchaikovsky’s Piano Trio in A minor “To\n the Memory of a Great Artist” played by Arthur Catterall, W, H Squire \nand William Murdoch L.1942-47 (12in., £1 I9s., in an album). It is good \nthat this work has been recorded in its entirety. The Theme and \nVariations out of it, on one record, was among the precious early \nchamber music records of pre-electric days, but that sort of thing is \nnot good enough to-day: and therefore the same three artists have played\n the whole work on six records, very much to the credit of Columbia. The\n performance is good though it never breathes quite so deeply as was \nintended by the composer. The best playing is to be found in the \nvariations, which also are more in chamber music style than the first \nmovement, where a dramatic line is maintained not unlike that of the \nsymphonies. (It is queer that Tchaikovsky in his operas is lyric and in \nthe symphonies and for instance this trio is dramatic to a great extent.\n The operas, by the way, are not out of repertory to-day, as the analyst\n of the album will have it, Onegin and even Pique Dame being in steady \ndemand on the Continent.) Nevertheless it is an extremely enjoyable \nperformance which is sure to be welcomed by the many lovers of this fine\n work. There is no need for me to add anything in the way of analysis, \nsince this is well done in the album itself\u003cbr\u003e\u003cbr\u003eC. J., The Gramophone, July 1928\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31975970253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975970381,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM101_82b21926-e366-46e8-8c5f-b8b7ba1deb53.jpg?v=1487682606"},{"product_id":"pasc441","title":"STOKOWSKI Acoustic, Volume 2 (1919-24) - PASC441","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;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prélude à l'après-midi d'un faune\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"Unfinished\" Symphony, No. 8\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestral excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonic movements and short pieces\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 studio recordings, 1919-1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:01  \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThey are life-enhancing in a way that so few new recordings ever are578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn 1981, I hosted a semester-long \nweekly series on Harvard Radio devoted to Leopold Stokowski. If you had \ntold me at the time that we one day would have the historic material now\n available on these two CDs and in such fine sound, I never would have \nbelieved you. I think that throughout that whole radio series I had only\n one LP available to me of monaural content from our station’s library. \nFortunately Stokowski’s admirers are a dedicated bunch, and can support \nPristine’s enterprise of giving us CDs with small commercial potential. \nThe evening I first played these discs I had a terrible time falling \nasleep, such is the Stokowski magic they contain. To love recordings \nenough to write for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eyou\n probably have to be a little bit crazy. I freely admit to suffering \nfrom an as yet undefined malady I would call “Stokowski-induced mania.” \nOf these two CDs, the one featuring the most recent material clearly is \naimed at my fellow sufferers. It collects all the post-acoustic era \nrecordings by Stokowski until now unavailable on CD and which are in the\n public domain in France, where Pristine Audio is based. For instance, \nthere is a previously unissued 1945 session by the New York City \nSymphony playing the Prelude and Libestod from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n of which only the first and last 78-rpm sides survive. They \nnevertheless reveal the tremendous sense of style Stokowski had imbued \nhis one-year-old ensemble with. He is alternately vigorous and sensitive\n in selections from Prokofiev’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Love for Three Oranges\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, with the NBC Symphony performing with the precision and clarity this Toscanini trained ensemble was known for. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe remaining items on the CD feature \n“Leopold Stokowski and his Symphony Orchestra.” Perhaps the greatest \ndraw for the non-specialist collector is the music from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The Overture opens with a blend of reverence and sensuality peculiar to\n Stokowski. The second statement of the Pilgrim’s Chorus is positively \necstatic. At its peak, the Venusberg Music reaches a pitch of controlled\n frenzy only Stokowski could achieve. Although he was a noted lady \nkiller, there also was a feminine side to Stokowski, expressed in his \nface’s sensitivity and the delicacy of his hands. The overall effect was\n an apparent androgyny that held a mysterious sway over orchestral \nplayers, helping to produce the remarkable Stokowski sound we hear here.\n As Wagner’s orgiastic music subsides, it is replaced by something like \npost-coital tristesse. In act III’s Prelude, Stokowski portrays the \nfever in Tannhäuser’s mind and his need for redemption. The brass \nplayers, drawn from the New York Philharmonic, cover themselves with \nglory in their chorales. While Solti and Doráti have given us memorable,\n stand-alone accounts of the Overture and Venusberg Music in stereo \n(Solti has the Dresden Overture and the Venusberg Music as separate \ntracks), nothing in my experience matches Stokowski in these highlights.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnother great reason to own this disc is Stokowski’s arrangement of Dido’s Lament from Purcell’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDido and Aeneas\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It is filled with the archaic-sounding string sonorities Stokowski \nloved to exploit in his orchestrations of Baroque music. There’s a \nwondrous feeling of sorrow in the repetitions of Dido’s “Remember me” in\n the violins. Stokowski conducted music from Tchaikovsky’s Fifth \nSymphony in the 1947 movie “Carnegie Hall,” so RCA at the time \napparently saw the commercial value of his leading an abridged version \nof the slow movement that would fit on one 78. Judging by the \nperformance’s passion, Stokowski must have been happy to oblige. Two \nyears later, he conducted the “Dance of the Sugar Plum Fairy” from \nTchaikovsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNutcracker \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efor\n a children’s disc, with Mozart’s “Sleigh Ride” on the flip side. New \nYork Philharmonic pianist (and future conductor) Walter Hendl plays the \ncelesta unusually expressively, as Stokowski brings out the menace \nunderlying Tchaikovsky’s fantasy. Restoration engineer Mark Obert-Thorn \nhas contrived highly listenable sonics throughout this CD, although the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpts sound rather cramped for their 1950 recording date. Even if \nyou’re not collecting everything Stokowski ever did, this disc is a \nblast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn 1977, a then elderly friend loaned \nme Stokowski’s 1923 acoustic 78s of the slow movement of Tchaikovsky’s \nFifth Symphony. Even played on my inexpensive equipment, I was amazed at\n the sound quality. Now we have this and other acoustic recordings by \nStokowski, made between 1919 and 1924, in new remasterings by Andrew \nRose. The results are highly illuminating. Rose has achieved a generally\n listenable sound from all this material, and their musical content for \nthe most part is first-rate. The main drawback for the acoustic \ntechnique in recording an orchestra is the absence of hall atmosphere, \nwith very little air around the instruments. The balance on these \nrecordings, though, in the main is very good. They document a period in \nStokowski’s career when, at about age 40, his interpretations tended to \nbe less idiosyncratic than they later became. A Metropolitan Opera \nbassist who played under Stokowski in the early 1960s told me that the \nconductor “did things just to be different.” There really is very little\n about these early recordings that the most Toscanini-minded purist \ncould find objectionable. The one recording where the music overtaxes \nthe engineering technique is that of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Stokowski had tried twice previously to make a recording of the work, \nbefore finally releasing this 1924 effort. The evanescence of the string\n writing really is beyond the capacity of the acoustic equipment to \ncapture. Still, there is much to enjoy in the eloquent playing of \nflutist William Kincaid, oboist Marcel Tabuteau, and a marvelous first \nhorn. They respond to the flexibility of Stokowski’s interpretation with\n great tenderness. Perhaps the conductor had reservations about this \nrecording as well, for he rerecorded the piece electrically only three \nyears later. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eStokowski’s Schubert “Unfinished” is a \ngreat performance, from a time when complete symphonies were still rare \non records. As one can hear on his London Philharmonic recording from \nthe 1960s, Stokowski was fascinated by the sound of this work. For an \nearly 1950s performance in San Francisco, he retouched the orchestration\n and also added an extra wind instrument. Even this 1924 recording \nsuggests the vivid, haunting colors Stokowski found in the piece. The \nensemble is vigorous and highly disciplined, quite different from, say, \nBruno Walter’s approach. There is no exposition repeat in the first \nmovement, repeats being sparing on 78s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Wagner recordings here are pretty sensational. Stokowski’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRienzi \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n really swings, even though it is cut to fit onto two 78 sides. The \norchestral sound possesses a suavity I’ve rarely encountered elsewhere. \nThe Ride of the Valkyries has a dramatic tension that would have pleased\n Toscanini, while the tone of the performance is something the Italian \nmaestro never achieved. The brief excerpt from Wotan’s Farewell and \nMagic Fire Music has all the magic of Stokowski’s classic Houston \nversion for Everest, but with a better orchestra. If any recording on \nthis CD stands out as an engineering triumph, it’s the Prelude to Act \nOne of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Somehow the acoustic horn managed to capture the rapt beauty of Stokowski’s beautifully proportioned reading. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe third movement of Tchaikovsky’s \nSixth Symphony is a bit of a throw-away. It is cut to shreds to fit onto\n one 78 side, and the orchestra’s response is somewhat perfunctory. As I\n mentioned earlier, we do get a complete account of the slow movement of\n Tchaikovsky’s Fifth—beautifully molded in its playing and paced with \ngreat sensitivity. It is not as individual as the abridged version on \nthe previous CD in this review, but it is accomplished in a way very few\n conductors could achieve. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNutcracker \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003edance\n has great charm, while Tchaikovsky’s Song Without Words is one of those\n romantic Stokowski orchestrations that seems to linger in the \natmosphere after it ends. Pristine also gives us a cover with a \nwonderful drawing of the young Stokowski, from the record sleeve of one \nof his acoustic 78s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIf this exploration of the world of \nacoustic recordings of orchestras whets your whistle, I would also \nrecommend Biddulph’s set devoted to the discs of Willem Mengelberg and \nthe New York Philharmonic. These two new releases from Pristine fill out\n our view of one of the greatest conductors of all time. I’m aware that \nthey are likely to appeal to a specialized audience, but they are \nlife-enhancing in a way that so few new recordings ever are. There’s one\n more volume of acoustic Stokowski on the way from Pristine, and I can’t\n wait. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC441.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStokowski's earliest recordings of Debussy, Schubert, Wagner \u0026amp; Tchaikovsky \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis is the second of four volumes dedicated to the acoustic \nrecordings Stokowski made with the Philadelphia Orchestra between 1919 \nand 1924. By acoustic we mean a recording process entirely devoid of \nelectrical equipment: a weight-driven cutting lathe on which master \ndiscs were cut, the minute variations in the grooves being driven \nentirely by the vibrations reaching the cutting head through a large \nhorn, concentrating as much acoustical energy as possible from the \norchestra. This frequency- and dynamically-limited process was the only \nmeans of recording sound for well over a quarter of a century, during \nwhich time the technology progressed from being considered a novelty toy\n to something which, although recognised as limited, was of serious \nartistic value. Stokowski was one of very few internationally known \nmusical artists to see the progression right through as a recording \nperformer from the acoustic horn to the multitrack studio. His acoustic \nbeginnings are, like so many, often consigned to ancient history.\u003c\/p\u003e\u003cp\u003eThis volume uses the latest 21st century technology to clean up, \nclarify, stabilise and bring you the best possible sound from recordings\n almost a century old. Volume One (PASC192) was restored 6 years ago - in that short time considerable further \nstrides have been made that have allowed me to find even greater \nfidelity and clarity from these marvellous relics of an almost lost age \nof sound recordings.\u003c\/p\u003e\u003cp\u003eThe transfers were made by Edward Johnson from his collection of (relatively) quiet-surfaced Victor original 78s.  \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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb style=\"font-size: medium;\"\u003eDEBUSSY\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e Prélude à l'après-midi d'un faune\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded April 28, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 6481, Matrices: C-21057-5, C-21058-5\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Symphony No. 8 in B minor, \"Unfinished\"\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 18, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisks: Victor 6459, 6460, 6461 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrices: C-29052-5, C-29053-5, C-29054-5, C-29055-4, C-29056-5, C-29057-5\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Rienzi - Overture\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded May 8, 1919. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisks: Victor 74602, 74603 Matrices: Victor C-22815-3, C-22816-3\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Walküre: Ride of the Valkyries\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded March 25, 1921. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 74684 or HMV DB 387 Matrix: C-24987-4\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Walküre: Wotan's Farewell and Magic Fire Music\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded December 5, 1921. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 74736 Matrix: C-24124-12\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Lohengrin - Prelude to Act 1\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 28, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 6490 or HMV DB 839 Matrices: C 30021-2, C 30022-1\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 - March \u003cspan style=\"font-size: small;\"\u003e(heavily cut 3rd mvt.)\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 18, 1921. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 74713 Matrix: C-24628-11\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5 - 2nd mvt. - Andante cantabile con alcuna licenza\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 30, 1923. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisks: Victor 6430, 6431 Matrices: C-27904-2, C-27905-1, C-27906-2\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e The Nutcracker - Dance of the Flutes\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded February 13, 1922. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 66128 Matrix: B-24938-6\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e (arr. Stokowski) Song Without Words, Op. 40, No. 6\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eRecorded April 28, 1924. \u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDisk: Victor 1111 Matrix: B-27065-7\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb style=\"font-size: medium;\"\u003eThe Philadelphia Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cb style=\"font-size: medium;\"\u003eLeopold Stokowski\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC441.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC441.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":31975976461,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975976525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975976589,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975976653,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC441_ebcc8613-9985-4017-b5b2-c3509bb41068.jpg?v=1487682616"},{"product_id":"pasc471","title":"STOKOWSKI Acoustic, Volume 3 (1917-24) - PASC471","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRACHMANINOV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 2\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eVARIOUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonic movements and short pieces\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;\"\u003eAcoustic studio recordings, 1917-1924\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:41 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSergei Rachmaninov, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe metrical freedoms taken by the soloist-composer are a touch freer than in his remake, making this recording that much more uplifting and combustible ... a memorable achievement and it has been very well transferred here578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is the third of a projected four \nvolumes in Pristine’s series devoted to acoustic recordings made for the\n Victor Company by Leopold Stokowski and members of the Philadelphia \nOrchestra between 1917 and 1924. I have long been skeptical about the \nvalue of orchestral recordings made with the acoustic process, prior to \nthe introduction of the microphone in 1926. As anyone at all familiar \nwith this primitive recording method would be aware, what is performing \nin these selections is not actually the Philadelphia Orchestra but \nrather a few of its members, clustered around a recording horn. \nAccordingly, a major issue in assessing this release is whether the \nsonic wizardry of Andrew Rose has been able to create the illusion of an\n actual orchestra playing in these recordings. The answer is “not \nentirely,” but the sound on this Pristine release is often substantially\n better than I would have expected, and there are portions where it is \npossible to overlook the absence of a full orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the 1924 recording of the Rachmaninoff Concerto, the orchestral sound is acceptably full in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es,\n although opaque. Elsewhere, string tone is sometimes ample and \nsometimes thin or tubby, but the results remain thoroughly listenable. \nSurface noise from the source discs is audible but unobtrusive. What is \ntruly remarkable, however, is the piano sound, which is full, rich, \nsolid, and completely stable in pitch, although it is impossible to \ndetermine how closely this warm, rounded sound replicates the actual \nsound of Rachmaninoff’s playing. The sound of the Pristine remastering \nis in any case good enough to allow one to appreciate the performance, \nbut the 1929 remake by the same performers remains preferable for \nfull-orchestra sound and superior dynamic range. (I have that later \nrecording on a 1994 RCA Gold Seal reissue, but there are other \nremasterings that are probably better.) Other than sound, the main \ndifference between the two performances is the quicker main tempo for \nthe slow movement in the earlier one. Both performances are \ndistinguished by the composer’s effortless fluency at the piano, by a \nsuppleness and elasticity that never strays into mannerism, and by \npacing that is swifter than in most modern recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eQuality varies among the shorter pieces\n filling out the disc, but one area where Pristine’s treatment has \nunquestionably produced a substantial improvement is in freedom from the\n wow and flutter one would expect in material of this vintage. The four \nBizet selections (recorded 1919–23) fare well sonically and \ninterpretively. Bizet’s transparent orchestration is done comparatively \nlittle harm by the reduced complement of instruments, while Stokowski’s \nreadings are lively but straightforward, without any fooling around with\n tempo. Liszt’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSecond Hungarian Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (recorded 1920) is heavily cut, but the roughly half of it that remains\n is brilliantly played by the Philadelphians, and the menacing opening, \nwith growling low strings, and the wild, headlong conclusion will \nimpress the listener. The sharp staccato attacks at the very beginning \nwere not employed by Stokowski in two later (complete) recordings of the\n piece, in 1936 and 1960–61. I don’t care much for the bloated \narrangement of the Chopin Prélude or the equally soupy rendition of \nGluck’s “Dance of the Blessed Spirits.” The sound in Ippolitov-Ivanov’s \n“Procession of the Sardar” (recorded 1922) is less good than in the \nBizet and Liszt selections, and some of the wind playing seems not up to\n Philadelphia standards. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMidsummer Night’s Dream\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo (1917) suffers from a boomy, murky bass and a relatively high noise level. Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEspaña\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (1919) is heavily cut, and the sound does not much disguise the limitations of the acoustic recording process. The march from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (1924) is an excerpt and cuts off abruptly after three minutes. The \nsound is brassy and not much like a full orchestra. The excerpt from the\n third movement of Tchaikovsky’s “Pathétique” (1917), in contrast, \nstarts off in the middle of the movement. The balances initially seem \nway off, and there is some imperfect ensemble, but things improve. It is\n difficult to know how closely these early recordings actually represent\n Stokowski’s interpretations during this period and the extent to which \nthey may have been influenced by the exigencies of the primitive \nrecording process, but it is noteworthy that he slows the tempo at \nexactly the same point in this 1917 recording as in his 1945 live \nHollywood Bowl performance (Memories), although tempo shifts in the \nearlier performance are somewhat less pronounced. The Wagner and \nTchaikovsky selections and the one by the obscure American composer \nEdgar Stillman Kelley (1857–1944) are previously unissued. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis release demonstrates that some \nworthwhile listening can be drawn from the grooves of these early \norchestral recordings. Rachmaninoff’s earlier recording of his Concerto \nNo. 2 is, of course, the most valuable item on the program, in terms of \nhistorical significance and performance and sound quality, and its \npresence on the disc mandates a recommendation. The remaining selections\n will appeal primarily Stokowski completists but are worthwhile bonuses.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDaniel Morrison\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:2 (Nov\/Dec 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\nPristine Audio reminds me of a plate-spinner on the variety stage. It \nhas a large number of plates spinning at the moment, with multi-volume \nseries devoted to Beecham, Stokowski and Monteux just three that have \ncome my way in the past few weeks. The third volume of their series \ndevoted to Stokowski’s acoustic recordings (see reviews of \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2010\/Jan10\/Stokowski_pasc192.htm\"\u003e Volume 1\/a\u0026gt; and \u003c\/a\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/Sep\/Stokowski_acoustic_v2_PASC441.htm\"\u003e Volume 2\u003c\/a\u003e)\n has a major work, and then a raft of lighter material, several of which\n pieces will be of considerable interest to Stokowski collectors as they\n have never before been issued.\u003cbr\u003e \u003cbr\u003e The major work is Rachmaninov’s\n Second Piano Concerto with the composer as soloist. This 1924 recording\n shouldn’t be confused with the later electric remake. The strange \nhistory of its missing first movement – never issued at the time, thus \nforcing purchasers to buy a torso of the work – can be explored \nelsewhere, though suffice to say it first reappeared commercially in RCA\n Red Seal’s Rachmaninov edition of his complete recordings. It’s known \nthat he played a Steinway Model B here, which was raised on a platform \nto allow the horn better to pick up his sound – quite a common practice \nat the time – and the results were exceptional. Given that Rachmaninov \nnever approved the first movement for release, listeners would have had \nto start with the slow movement but for us no such impediment exists. It\n is one of those little ironies of recording history that Victor was \nrecording a pretty complete complement of orchestral players back in \n1917 but in succeeding years they actually cut back, so that by the end \nof the acoustic era the Philadelphia often had around 38 or 40 players \nin the studio. Any bass reinforcements in this Rachmaninov recording \nhave been utilised quite subtly. The metrical freedoms taken by the \nsoloist-composer are a touch freer than in his remake, making this \nrecording that much more uplifting and combustible. It is, in any case, a\n memorable achievement and it has been very well transferred here.\u003cbr\u003e \u003cbr\u003e\n The remainder of the programme is graced by a succession of \nsingle-sided sweetmeats. The quartet of Bizet gives the brass and winds a\n workout in particular – the \u003cem\u003eMarch of the Smugglers\u003c\/em\u003e is notably \nwell played – and whilst this is by no means the first recording of \nBoccherini’s Minuet, it is assuredly one of the most suavely played. \nIppolitov-Ivanov’s \u003cem\u003eProcession of the Sardar\u003c\/em\u003e from the \u003cem\u003eCaucasian Sketches Suite No.1\u003c\/em\u003e\n offers some exotic fair and Stokowski’s arrangement (and the \norchestra’s performance of Chopin’s Prelude in E minor) is persuasive: \nother Stoky Chopin arrangements were not always so tasteful. The Gluck \nis, alas, too bass heavy and lugubrious but the 1919 Chabrier \u003cem\u003eEspaña Rhapsody\u003c\/em\u003e\n makes up for it. The last three pieces have never before been released.\n Like everything else, the sound is excellent for the 1917-24 time \nperiod. We hear the second part of the Scherzo from Tchaikovsky’s Sixth \nSymphony, and part one (only) of Tannhauser’s \u003cem\u003eFestmarsch\u003c\/em\u003e\u003cu\u003e,\u003c\/u\u003e which duly stops abruptly. But the gem here is the piece by the American composer Edgar Stillman Kelley whose \u003cem\u003eThe Red Queen’s Banquet\u003c\/em\u003e, from his \u003cem\u003eAlice in Wonderland\u003c\/em\u003e\n suite, offers some busy material. In fine sound, it brings Kelley to \nthe attention of contemporary listeners and one wonders what else is out\n there by him.\u003cbr\u003e \u003cbr\u003e Full documentation can be found on Pristine’s \nwebsite, as there isn’t much room in the disc for much beyond a brief \nProducer’s Note and the running order.\u003cbr\u003e \u003cbr\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC471.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRachmaninov plays his 2nd Concert with Stokowski in truly astonishing sound quality for an acoustic recording!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"What is truly remarkable, however, is the piano sound, which is full, rich, solid, and completely stable in pitch\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis is the third of four volumes which aims to present all of the \nsurviving acoustic recordings made by Leopold Stokowski with the \nPhiladelphia Orchestra at the studios of the Victor recording company \nbetween 1917 and 1924. The somewhat drawn-out nature of this project has\n allowed us to track down a number of rare and unreleased sides, several\n of which appear for the first time on this release.\u003cbr\u003e\u003cbr\u003eSince \nbeginning the series, a number of technological advances in the field of\n sound restoration have appeared, allowing each time for greater \nfidelity to be extracted from the limited opportunities found in the \ngrooves of acoustically-recorded discs, with their highly limited \nfrequency and dynamic range. \u003cbr\u003e\u003cbr\u003eOne such advance is in the control \nof pitch instability - the \"wow and flutter\" inherent to one degree or \nanother in all analogue recordings, and generally found to greater \ndegrees as recordings get older. To be able to restore solidity of pitch\n to Rachmaninov's piano is to give it a degree of realism never heard \nbefore. Despite the aforementioned technical limitations, a few moments \nlistening to the solo piano in the opening bars of the Piano Concerto \nNo. 2, not originally issued, may have you pinching yourself - surely \nthis is not the sound of a piano captured through a horn, cut into a \ndisc being driven by weights, just months before the introduction of \nmicrophones? The delicacy of touch, the immediacy of the sound, the \nsolidity and (relative!) realism of the piano's tone is quite remarkable\n to hear.\u003cbr\u003e\u003cbr\u003eFor many, the performance given by Rachmaninov and \nStokowski here was preferable to their 1929 electrical remake. Here we \ntake a step closer to that performance, alongside a panoply of single \nsides and previously unissued Wagner, Tchaikovsky and one Edgar Stillman\n Kelley, a composer who was new to me. My sincere thanks to all who make\n this release possible. A fourth and final volume in the series will \nfollow within a month.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSergei RACHMANINOV (1873-1943)\u003c\/b\u003e\u003cbr\u003e 1-3. Piano Concerto No. 2 in C minor, Op. 18 [30:38] \u003cbr\u003e rec. January 3 and December 22, 1924\u003cbr\u003e\u003cb\u003eSergei Rachmaninov, \u003c\/b\u003epiano\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1st mvt: Unissued, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-31395-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-31395-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eB-31397-1 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e2nd mvt: Victor 89166-68, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29233-4, C-29234-3, C-29235-4 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e3rd mvt: Victor 89169-71, matrices: \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29236-3\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29251-2\u003c\/span\u003e, \u003cspan style=\"color: black; font-family: arial; font-size: small;\" size=\"2\" color=\"black\" face=\"arial\"\u003eC-29252-2 \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eGeorges BIZET (1838-1875)\u003c\/b\u003e\u003cbr\u003e 4. Carmen – Prelude [2:13] \u003cbr\u003e rec. May 8, 1919, matrix: Victor B-22812-4\u003cbr\u003eVictor 64822, \u003cbr\u003e 5. Carmen - Changing of the Guard transc. Stokowski [3:35]\u003cbr\u003e rec. April 30, 1923 \u003cbr\u003eVictor 66263, matrix: B-27903-2\u003cbr\u003e 6. Carmen - March of the Smugglers transc. Stokowski [3:32]\u003cbr\u003e rec. April 30, 1923\u003cbr\u003eVictor 66264, matrix: B-27902-1\u003cbr\u003e 7. L'Arlésienne - Spanish Dance [1:40] \u003cbr\u003e rec. January 28, 1922\u003cbr\u003eVictor 1113, matrix: B-25942-5\u003cbr\u003e \u003cb\u003eFranz LISZT (1811-1886)\u003c\/b\u003e\u003cbr\u003e 8. Hungarian Rhapsody No. 2 orch. Karl Müller-Berghaus [3:59]\u003cbr\u003e rec. May 20, 1920\u003cbr\u003eVictor 74647, matrix: C-24126-4\u003cbr\u003e \u003cb\u003eLuigi BOCCHERINI (1743-1805) \u003c\/b\u003e\u003cbr\u003e 9. Quintet in E, Op. 11, No. 5 - Minuet transc. Stokowski [2:36] \u003cbr\u003e rec. January 28, 1921\u003cbr\u003eVictor 66058, matrix: B-25943-4\u003cbr\u003e \u003cb\u003eMikhail IPPOLITOV-IVANOV (1859-1935) \u003c\/b\u003e\u003cbr\u003e 10. Caucasian Sketches Suite No. 1 - Procession of the Sardar [3:20]\u003cbr\u003e rec. April 29, 1922 \u003cbr\u003eVictor 66106, matrix: B-26442-2\u003cbr\u003e \u003cb\u003eFryderyk CHOPIN (1810-1849) \u003c\/b\u003e\u003cbr\u003e 11. Prelude no 4 in E minor, Op. 28, No. 4 transc. Stokowski [2:15] \u003cbr\u003e rec. November 6, 1922\u003cbr\u003eVictor 1111, matrix: B-26408-7\u003cbr\u003e \u003cb\u003eFelix MENDELSSOHN (1809-1847)\u003c\/b\u003e\u003cbr\u003e 12. A Midsummer Night's Dream - Scherzo [4:30] \u003cbr\u003e rec. November 8, 1917\u003cbr\u003eVictor 74560, matrix: Victor C-21056-4\u003cbr\u003e \u003cb\u003eChristoph Willibald von GLUCK (1714-1787)\u003c\/b\u003e\u003cbr\u003e 13. Orfeo ed Euridice - Dance of the Blessed Spirits [4:43] \u003cbr\u003e rec. November 8, 1917\u003cbr\u003eVictor 74567, matrix: Victor C-21066-1\u003cbr\u003e \u003cb\u003eEmmanuel CHABRIER (1841-1894) \u003c\/b\u003e\u003cbr\u003e 14. España Rhapsody [4:28] \u003cbr\u003e rec. May 9, 1919\u003cbr\u003eVictor 74621, matrix: Victor C-22809-7 \u003cbr\u003e \u003cb\u003eEdgar Stillman KELLEY (1857-1944)\u003c\/b\u003e\u003cbr\u003e 15. Alice in Wonderland - Suite: The Red Queen's Banquet [4:36]\u003cbr\u003e rec. December 31, 1924*\u003cbr\u003eUnissued, Matrix No. C-31625-1\u003cbr\u003e \u003cb\u003eRichard WAGNER (1813-1883) \u003c\/b\u003e\u003cbr\u003e 16. Tannhäuser - Act II: Festmarsch (Entrance of the Guests) transc. Stokowski [3:08]\u003cbr\u003e rec. April 30, 1923*\u003cbr\u003eUnissued, Matrix No. C-27900-4\u003cbr\u003e \u003cb\u003ePyotr Ilyich TCHAIKOVSKY (1840-1893)\u003c\/b\u003e\u003cbr\u003e 17. Symphony No. 6 in B minor, Op. 74 - Scherzo - Part 2 [4:27] \u003cbr\u003e rec. December 4, 1917*\u003cbr\u003eUnissued, Matrix No. C-21230-2\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded at Camden Church Studio (Victor Building no 22) Camden NJ, USA \u003cbr\u003eexcept tracks 12, 13, 17: \u003cbr\u003eVictor Office Building no 2, Eighteenth Floor Auditorium, Camden, NJ, USA\u003cbr\u003e\u003cbr\u003e*Previously unissued\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Stokowski, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC471.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC471.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":37537399181,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37537399245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37537399309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC471.jpg?v=1494861916"},{"product_id":"pasc442","title":"STOKOWSKI CD Premières: Purcell, Tchaikovsky, Wagner (1941-50) - PASC442","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;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tannhäuser – Overture and Venusberg Music ∙ Prelude to Act 3; Tristan und Isolde – Prelude and Liebestod (First Release)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePURCELL-STOKOWSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e “When I am laid in earth” (Dido and Aeneas)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Andante cantabile from Symphony No. 5; Dance of the Sugar Plum Fairy from The Nutcracker\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Three excerpts from The Love for Three Oranges\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, 1941-50\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 65:02  \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York City Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a performance that needs to be heard by any Wagnerite578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs producer and restoration engineer \nMark Obert-Thorn notes in his booklet note, this release takes us one \nstep closer to having every last note recorded by Leopold Stokowski \navailable on CD. (His recording of Panufnik’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUniversal Prayer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n remains at large, and presumably will remain so until 2041, when it \nenters the public domain.) This is excellent news for Stokowski \ncompletists, and good news for his many admirers. For everyone one else \nreading this headnote, they might be taken aback by the grab-bag nature \nof this release, which features an odd assortment of works, some of them\n in incomplete recordings. \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\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpts, recorded in 1945, are accidentally incomplete, one assumes. \nApparently this comes from a two-disc test pressing, and the second disc\n (which would include the second and third sides) was either broken or \nhas not been found. Thus, we get the first half of the Prelude and the \nsecond half of the Liebestod. Stokowski’s music-making is white hot, but\n you have to be fairly dedicated to put up with such bleeding chunks, \nwhich are even more bloody than usual. The excerpt from the second \nmovement of Tchaikovsky’s Fifth (the movement’s second half, roughly) is\n a result of it having been featured in the 1947 film \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnegie Hall\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It was intended more for movie-goers than for serious music lovers (not\n that the two groups can’t intersect).Too bad, because it’s an excellent\n performance, even though it is incomplete. The “Dance of the Sugar Plum\n Fairy” (Walter Hendl on celesta!) seems to have been a “B side” to a \n1949 recording of Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSleigh Ride\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The tempo is luxuriously slow, and the effect is most seductive, \nespecially if you have a venereal sweet tooth. Stokowski’s arrangement \nof Purcell also makes Dido sound hot and bothered; “When I am laid” \nindeed! Obert-Thorn guesses that the cello soloist here, in this \nrecording from 1950, is Leonard Rose. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Prokofiev excerpts were recorded in\n 1941 in New York’s “Cosmopolitan Opera House.” (Really?) The March has \nbeen on CD before, but not the other two movements. “The Prince and the \nPrincess” languish with searing intensity, and so this is another \nworthwhile albeit incomplete find. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI’ve saved the best for last. The excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n date from 1950 and feature the conductor and his musicians at the top \nof their form; even the women’s chorus (unidentified) in the Venusberg \nMusic makes a memorable contribution. Although the music-making has a \nsweeping, theatrical spontaneity, one also senses Stokowski’s brain \nticking away as he deploys one gorgeous effect after another. Unless you\n like Wagner to be boring and sedate, this is a performance that needs \nto be heard by any Wagnerite, perfect of otherwise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn’s transfers probably get \neverything out of the source material that there is to be gotten; they \nsound remarkable for their age. But then again, so did Stokowski. \nScraping the bottom of the barrel? Well, maybe, but what happy \nscrapings!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRaymond Tuttle\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC442.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous Stokowski recordings unheard for decades\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"They sound remarkable for their age. But then again, so did Stokowski\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eWith the publication this month of a Music \u0026amp; Arts set \ndevoted to all of Stokowski’s recordings with the All-American Youth \nOrchestra and Hollywood Bowl Symphony Orchestra that had not yet been \nreissued on CD, the number of the conductor’s post-acoustic era output \nin that category has been greatly reduced.  The present release brings \ntogether all but one of the remaining such recordings, and adds a first \nrelease.  (The single holdout is Stokowski’s 1970 Unicorn LP of \nPanufnik’s \u003cem\u003eUniversal Prayer\u003c\/em\u003e, which will not enter the public domain until 2041.)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe original labels of most of the items featured here credited\n “Leopold Stokowski and his Symphony Orchestra”, a pickup ensemble with \nwhich the conductor recorded almost exclusively for his RCA sessions \nfrom 1947 through 1953.  It has always been known that during these \nyears, it consisted of members of the New York Philharmonic (which \nrecorded exclusively for rival label Columbia at the time), the NBC \nSymphony, and top New York freelancers.  But what critic and \ndiscographer James H. North brought to light in an article published in \nthe Spring, 2013 issue of the \u003cem\u003eARSC Journal\u003c\/em\u003e was the actual mix of personnel:   Philharmonic members and freelancers far outweighed NBC players in participation.  The \u003cem\u003eTannhäuser\u003c\/em\u003e\n selections which begin our program provide a case in point:  All of the\n players came from the New York Philharmonic except freelance oboist \nRobert Bloom.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eFor all the various arrangements of music from \u003cem\u003eTristan\u003c\/em\u003e\n that Stokowski recorded over his career, it is remarkable that he made \nonly a single published version of the “standard” Prelude and Liebestod,\n and that only in 1973, toward the end of his career.  The previously \nunissued recording presented here was made with the New York City \nSymphony, an ensemble that Stokowski created in 1944.  Only the first \nand last sides of the set survive in test pressings, but they are enough\n to indicate the white-hot intensity of Stokowski’s performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe cello soloist in Stokowski’s deeply-felt Purcell \ntranscription is most likely Leonard Rose, who was listed as the first \nchair at that session.  The foreshortened single movement from the \nTchiakovsky Fifth is a souvenir of the conductor’s appearance in the \n1947 film, \u003cem\u003eCarnegie Hall\u003c\/em\u003e, in which he led this music.  The \nrecording of the “Dance of the Sugar Plum Fairy” which was issued on \nsingle 78 and 45 rpm discs coupled with Mozart’s “Sleigh Ride” has often\n incorrectly been thought to come from Stokowski’s 1950 recording of the\n entire \u003cem\u003eNutcracker\u003c\/em\u003e Suite, but it predates it by a year.  The celesta soloist here is future conductor Walter Hendl.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Prokofiev selections with the NBC Symphony were originally \nrecorded on three separate 12-inch matrices and then were dubbed to two \nsides.  I was lucky to be able to work from undubbed vinyl test \npressings for the “Infernal Scene” and “March”, but had to use the \nsonically-compromised dubbed shellac release for “The Prince and the \nPrincess”.  While the March has appeared on CD previously, it is now \njoined to the other movements to conclude our program of “firsts”.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn (April 2015)\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\u003cp\u003e            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tannhäuser\u003cbr\u003e\u003cbr\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cb\u003eOverture and Venusberg Music                                     \u003c\/b\u003e                                   \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2          \u003cb\u003ePrelude to Act 3*                                                                                                    \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 1 and 15 February 1950 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor LM-1066 and *WDM-1383\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tristan und Isolde\u003c\/p\u003e\u003cp\u003e3          \u003cb\u003ePrelude to Act 1 (beginning)\u003c\/b\u003e                                                                              \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4          \u003cb\u003eLiebestod (conclusion)\u003c\/b\u003e                                                                                       \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 2 March 1945 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  D5-RC-866-2A \u0026amp; 869-1A                            \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Previously unpublished\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e5          \u003cb\u003ePURCELL\u003c\/b\u003e (trans. 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PACO112 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976550541,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976550605,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO112.jpg?v=1658495876"},{"product_id":"pasc235","title":"REINER Rarities, Volume 1 (1950-53) - PASC235","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Midsummer Night’s Dream – Incidental Music\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLUCK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrfeo ed Euridice – Dance of the Blessed Spirits\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTotentanz \u003c\/span\u003e\u003c\/span\u003e\u003cbr\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;\"\u003eWaltzes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1950-1953\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 78:37 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobin Hood Dell Orchestra of Philadelphia \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e RCA Victor 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;\"\u003eFritz Reiner\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe RCA Victor Symphony Orchestra plays brilliantly, hardly a surprise with someone like Reiner at the controls578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDuring the 1930s, Fritz Reiner taught conducting \nat the Curtis Institute. He had, long ago, proved himself as a \nprofessional and must have been annoyed when the conducting plum of \nmusic director of the Philadelphia Orchestra was handed to the \nrelatively inexperienced Eugene Ormandy in 1936. In the meantime, at the\n other end of Pennsylvania, Otto Klemperer, then the conductor of the \nLos Angeles Philharmonic, was reorganizing the Pittsburgh Symphony \nOrchestra, which had temporarily gone out of business a few years \nearlier. Klemperer was so pleased by what he had wrought that he was \ntempted to accept the Pittsburgh job when it was offered to him, but the\n combination of Pittsburgh’s pollution (it was known as “the Smokey \nCity”) and Los Angeles’s climate won out and he decided to stay put \n(ironically, 50 years later, Pittsburgh had some of the cleanest air in \nthe country while L.A. was drowning in smog). At that point, the \nPittsburgh job was offered to Reiner, who accepted it and eventually, \nyears later, wound up with the Chicago Symphony Orchestra. I mention \nthis because in May 1958, Reiner and Ormandy traded podiums for a week \nand seem to have enjoyed the experience. While Ormandy was suitably \neffusive in his praise of Reiner’s orchestra (I heard two of his \nconcerts), Reiner’s succinct comment on the Philadelphians was “They can\n do anything.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eReiner had previously had the pleasure of \nconducting them at a June 1951 Mendelssohn recording session in the \nAcademy of Music but, for contractual reasons, they had to billed under \ntheir summertime name, the Robin Hood Dell Orchestra (they gave a series\n of outdoor concerts at a spot called Robin Hood Dell). This is not a \nperformance to inspire adjectives like “gossamer” or “quicksilvery,” for\n the orchestra’s sound is too warm, but the playing is as good as what \none might expect, minus the Ormandy layer of lushness. Reiner’s overture\n seems more relaxed than that of many conductors, and that tempo and his\n ear for balance end up creating the same sense of animation that faster\n tempos give the music. Detail is, in fact, excellent throughout, even \nat the more conventional tempos he adopts for the Scherzo, Intermezzo, \nNocturne, and Wedding March. An alternate view of the music, perhaps, \nbut a valid and beautiful one.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe rest of the recordings are with the RCA Victor\n Symphony Orchestra, which was largely made up of members of the NBC \nSymphony Orchestra and the New York Philharmonic. The uncredited flute \nsoloist in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDance of the Blessed Spirits \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n probably Julius Baker. Reiner takes the A section at a stately, \nslower-than-usual tempo while moving the music along at a more \nconventional pace in the contrasting B section. It’s an extremely \nrefined performance. I cannot recall the Brailowsky\/Reiner \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTotentanz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e sounding this vivid, almost turning it into a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esonic\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n showpiece as well as a musical one. I never thought that old RCA Victor\n LP had this much juice in it—the producer, Mark Obert-Thorn, has \noutdone even himself here. Despite the virtuosity on display, neither \nBrailowsky nor Reiner can prevent my eyeballs from rolling upwards as \nLiszt puts the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDies irae\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n through its flashy paces. The pianist was no more persuasive when he \ndid a stereo remake with Ormandy nor, despite his brilliance, could \nByron Janis make the music seem any shorter in Reiner’s second go at the\n piece.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Tchaikovsky waltzes in question are from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEugene Onegin, Swan Lake\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (No. 2, from act I), \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSleeping Beauty\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (you know which one), \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Nutcracker\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWaltz of the Flowers\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n and the Fifth Symphony. Several of the waltzes are shorn of repeats, \npresumably so they would fit on a 45 rpm side, but the waltz from the \nFifth Symphony is not and is done with such a relaxed lilt (it took up \ntwo sides) that it made me curious about what a Reiner Fifth Symphony \nwould have been like. The other waltzes are made to move along smartly, \neven with the cuts. As usual, the RCA Victor Symphony Orchestra plays \nbrilliantly, hardly a surprise with someone like Reiner at the controls \nand enough to prompt this speculation: Suppose Reiner had been hired by \nthe Philadelphia Orchestra back in 1936 and Ormandy had been offered the\n Pittsburgh position? It is possible that both conductors would have \nbenefited. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC235.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eReal 1950s rarities from Fritz Reiner\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e In superb new transfers by Mark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThis collection features rarities in more than one \nsense. First, these are Fritz Reiner’s only commercial recordings of the\n works, save \u003cem\u003eTotentanz\u003c\/em\u003e and the “Waltz of the Flowers.” In \naddition, none of them have received an “official” reissue from RCA, on \nLP or CD, in over half a century.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Mendelssohn comes from a week in June, 1951 in which\n Reiner conducted a series of concerts at the Robin Hood Dell in \nPhiladelphia’s Fairmount Park. RCA made three recordings with him at \nthis time: the Brahms Double Concerto with Milstein and Piatigorsky; \nRachmaninoff’s \u003cem\u003ePaganini Rhapsody\u003c\/em\u003e with Kapell; and the present \nwork. The orchestra was composed primarily of members of the \nPhiladelphia Orchestra, but its name was not a contractual \u003cem\u003enom du disque\u003c\/em\u003e.\n The ensemble performed under this name in their summer home well into \nthe 1960s, and recorded under it for both RCA and Columbia.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe remaining items were made with RCA’s pickup \norchestra, composed mainly of members of the New York Philharmonic and \nthe NBC Symphony with the addition of some freelance players. \n(Essentially, it was the same ensemble heard in the recordings of \n“Leopold Stokowski and His Symphony Orchestra.”) The Gluck has an \ninteresting history. Originally, it was released on a 45 rpm disc, \ncoupled with the Air from Bach’s Suite No. 3, from Reiner’s complete set\n of Bach Suites. It was later reissued on a compilation album called \n“Enter the Ballet” (LM-2141), which was the source of the present \ntransfer. The soloist, not identified on the LP, is most likely Julius \nBaker, who was also featured on Reiner’s recording of the Bach Second \nSuite that same year.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Liszt features the Russian-American pianist, \nAlexander Brailowsky, who was a frequent visitor to the RCA studios \nduring the 1940s and 1950s. The work would later be re-recorded by \nReiner in Chicago with Byron Janis. The Tchaikovsky waltzes were begun \nthe day after Reiner recorded the \u003cem\u003eFledermaus\u003c\/em\u003e highlights album \n(Pristine Audio PACO 037), which was his first session for RCA after \nleaving Columbia. These have been transferred from 45 rpm originals (set\n WDM-1539), while the remaining items have come from LPs: the \nMendelssohn from its 12-inch reissue on LM-1724 (with some patches from \nthe 45 rpm set to fix problems in RCA’s LP master tape), and the Liszt \nand Gluck from their only LP appearances.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eMENDELSSOHN\u003c\/strong\u003e: A Midsummer Night’s Dream – Incidental Music\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eRobin Hood Dell Orchestra of Philadelphia\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 30th June, 1951 in the Academy of Music, Philadelphia\u003cbr\u003e First issued on RCA Victor LM-141 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eGLUCK\u003c\/strong\u003e: Orfeo ed Euridice – Dance of the Blessed Spirits \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eJulius Baker, \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003esolo flute\u003cbr\u003e \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003eRCA Victor Symphony Orchestra\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 16th June, 1953 in Manhattan Center, New York City\u003cbr\u003e First issued on RCA Victor ERA-215\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eLISZT\u003c\/strong\u003e: Totentanz\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eAlexander Brailowsky, \u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003epiano\u003cbr\u003e \u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003eRCA Victor Symphony Orchestra\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 6th March, 1951 in Manhattan Center, New York City\u003cbr\u003e First issued on RCA Victor LM-1195\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY: Waltzes\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003eValse: Allegro moderato (from Symphony No. 5 in E Minor, Op. 64)\u003cbr\u003e Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003cbr\u003e Waltz from \u003cem\u003eSwan Lake*\u003c\/em\u003e\u003cbr\u003e Waltz from \u003cem\u003eSleeping Beauty*\u003c\/em\u003e\u003cbr\u003e Waltz of the Flowers from \u003cem\u003eThe Nutcracker*\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eRCA Victor Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 21st and *22 September, 1950 in Manhattan Center, New York City\u003cbr\u003e First issued on RCA Victor LM-103\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003e \u003cspan style=\"font-size: 18px;\"\u003econductor Fritz Reiner\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eProducer and Audio Restoration Engineer:  Mark Obert-Thorn\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e Special thanks to Don Tait for providing source material\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eCover artwork based on a photograph of Fritz Reiner\u003cbr\u003e Additional Ambient Stereo processing by Andrew Rose \u003c\/span\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 78:37 \u003cbr\u003e ©2010 Pristine 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PASC493","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrancesca da Rimini*\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLady 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 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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":"pasc316-cd","title":"CANTELLI Tchaikosvky: Symphony 5, Romeo \u0026 Juliet (1950\/51) - 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The details of recording \n                  dates and venues are, more often than not, I’d guess, \n                  passed over without a great deal of attention.\u003cbr\u003e\n                  \u003cbr\u003e\n                  To do so in this case would be to miss something of great significance, \n                  for these recordings were made in Berlin on 8 and 9 July 1940, \n                  replicating live performances given just a few days earlier. \n                  In other words, less than seven weeks after the Netherlands \n                  had suffered a bloody, unprovoked invasion, lost a campaign, \n                  surrendered to an invading German army and been occupied by \n                  enemy forces. That country’s pre-eminent native conductor \n                  could be found leading the flagship German orchestra in the \n                  capital of Nazi Europe. \u003cbr\u003e\n                  \u003cbr\u003e\n                  Just as it does in Furtwängler's case, the controversy over \n                  the Germanophile Mengelberg's collaboration with the Nazis remains \n                  unresolved. Claims that he was essentially apolitical, that \n                  he protected Jewish members of his Concertgebouw Orchestra or \n                  that he attempted to continue promoting the banned “Jewish” \n                  music of Mahler are all asserted. They are even more convincingly \n                  contested for it is an incontrovertible fact that, unlike many \n                  other conductors in Nazi-occupied countries, Mengelberg adopted \n                  a high-profile highly supportive attitude to the new status \n                  quo. After the war’s end he was judicially condemned as \n                  a collaborator and his career came to an ignominious end. \u003cbr\u003e\n                  \u003cbr\u003e\n                  As those preliminary observations indicate, these recordings \n                  certainly have some historical\/political\/cultural significance. \n                  Any inherent \u003ci\u003emusical\u003c\/i\u003e importance is, however, rather less \n                  apparent. \u003cbr\u003e\n                  \u003cbr\u003e\n                  The concerto can be considered - and dismissed - quite quickly. \n                  Hansen was a competent enough pianist. He was a student of Edwin \n                  Fischer, though it is worth pointing out that in the 1930s, \n                  when one might have been expecting him to be pursuing a solo \n                  career, he was just as often to be found acting as his mentor’s \n                  teaching assistant. In all honesty, Hansen was probably out \n                  of his depth when partnered with Mengelberg and this recording \n                  has never been particularly highly rated, not simply because \n                  of the soloist’s adequate though generally undistinguished \n                  performance but also because of a horrendously cut first movement \n                  cadenza - blamed by charitable critics on time constraints. \n                  Perhaps a more appropriate soloist for this politically-charged \n                  recording might have been Hitler’s favourite, the notoriously \n                  pro-Nazi Elly Ney, who certainly had Tchaikovsky’s first \n                  concerto in her repertoire. Indeed, she had played it at the \n                  London Proms with Sir Henry Wood just a decade earlier, though \n                  one imagines that, as a notorious racist and anti-semite, she \n                  probably left the Albert Hall post-haste before the programme’s \n                  subsequent items that included Mahler’s first symphony \n                  and Marian Anderson singing a couple of spirituals. \u003cbr\u003e\n                    \u003cbr\u003e\n                  What of the recording of the Tchaikovsky fifth symphony? Again, \n                  this is not a performance for the ages. It is, though, characteristic \n                  Mengelberg: wilful, idiosyncratic, one-of-a-kind. Not only does \n                  the conductor impose his own tempi, dynamics and phrasings throughout \n                  the score, but he also makes a couple of quite drastic cuts \n                  in the finale. Interestingly enough, even though his audiences \n                  expected - and, at that time, generally saw no great harm in \n                  - that sort of practice, in the case of this particular symphony \n                  Mengelberg felt compelled to justify his interventionist approach. \n                  He claimed that Tchaikovsky’s brother Modest had told \n                  him that the composer himself would have approved the modifications \n                  - a suggestion that gave rise to the memorable observation, \n                  on a later occasion when Mengelberg tinkered with Bach, that \n                  he had presumably consulted “Modest Bach” on the \n                  matter. \u003cbr\u003e\n                    \u003cbr\u003e\n                  This, then, is a performance that tells us much more about interpretative \n                  practice in the first half of the twentieth century than about \n                  Tchaikovsky’s score. As such, it is certainly worth hearing, \n                  but you may not want to listen to it on a regular basis and \n                  it certainly won’t displace any of the many other fine \n                  recorded accounts of this work. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Pristine Audio and Mark Obert-Thorn have done a sterling job \n                  in bringing a greater degree of clarity to these 72 years old \n                  performances than we have ever heard before. It would be a good \n                  thing if this release were to tempt those listeners who know \n                  him only by reputation to sample Mengelberg’s undoubted \n                  artistry, tainted in reputation though it unfortunately remains \n                  thanks to the conductor’s questionable wartime stance. \n                    \u003cbr\u003e\n                  \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eRob Maynard \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC348.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eMengelberg's Tchaikovsky recalls the performance tradition of the composer\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eHis only recordings with the Berlin Philharmonic in new Obert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eThe two works on this release – Mengelberg’s only recordings with the Berlin Philharmonic – came about as a result of a pair of concerts celebrating the centenary of Tchaikovsky’s birth, which were held in the Philharmonie on Friday and Saturday, July 5th and 6th, 1940. (The concerts began with the composer’s \u003cem\u003eRomeo and Juliet \u003c\/em\u003eOverture, which was not subsequently recorded.) The following Monday, Telefunken engineers took down the symphony and, the next day, the concerto.\u003cbr\u003e\u003cbr\u003eWhile the latter, played with Edwin Fischer pupil Conrad Hansen, was new to Mengelberg’s discography, he had previously recorded the symphony with his own Concertgebouw Orchestra (the two middle movements alone in 1927, followed by a complete recording the next year). Carried over from the earlier recording are the cuts in the last movement of the symphony, both in the development section and in the lead-up to the final peroration. Mengelberg cited the claim of Modest Tchaikovsky, the composer’s brother, that in his final performances of the work, the composer had made these cuts, wanting to tighten the structure of the movement.\u003cbr\u003e\u003cbr\u003eThe present performance differs from the earlier recording, however, in the BPO’s reticence with regard to applying string portamenti, which only really surface during the second movement of the symphony (and there, only sparingly). In addition, although the timings of the first, third and fourth movements are slightly longer in the BPO version, the second movement is over a minute longer in the 1928 Concertgebouw recording. This was probably a function of Telefunken’s desire to fit the symphony on 12 sides rather than the 13 Columbia allotted to the earlier version, which featured the second movement on four sides rather than the three given here. (Timing considerations probably also account for the elimination of most of the first movement cadenza in the concerto.)\u003cbr\u003e\u003cbr\u003eThe sources used for the transfers were German Telefunken 78s except for Side 7 of the concerto, which came from a Czech Ultraphon set.\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\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\u003eTCHAIKOVSKY \u003c\/strong\u003ePiano Concerto No. 1 in B flat minor, Op. 23\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 9 July 1940 in the Philharmonie, Berlin \u003cbr\u003eMatrix nos.: 025083-1, 025084-1, 025085-1, 25086-1, 025087-1, 025088-1, 025089 and 025090-1 \u003cbr\u003eFirst issued on Telefunken SK-3092 through 3095\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eConrad Hansen \u003c\/strong\u003epiano\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY \u003c\/strong\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 8 July 1940 in the Philharmonie, Berlin \u003cbr\u003eMatrix nos.: 025071-1, 025072-5, 025073-1, 025074-1, 025075-1, 025076-1, 025077-1, 025078-1, \u003cbr\u003e025079-2, 025080-1, 025081-1 and 025082-1 \u003cbr\u003eFirst issued on Telefunken SK-3086 through 3091\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBerlin Philharmonic Orchestra \u003cbr\u003eWillem Mengelberg \u003c\/strong\u003econductor\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003cbr\u003e\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 Willem Mengelberg\u003cbr\u003e\u003cbr\u003eTotal duration: 74:29\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\/PASC348.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC348.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - Symphony No. 5\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eCurious to think of this being made in Hitler's Berlin just after the collapse of France, not to mention Mengelberg's Holland, in our own grim \"finest hour\" — and, one assumes, Germany's most exultant. How many recording sessions in London then? By July 1940 Telefunken had achieved standards in 78 recording that were never really to be surpassed. Even this dubbing, with the top cut to eliminate hiss, makes that plain, though towards the end of some of the 78 sides one detects extra congestion.\u003cbr\u003e\u003cbr\u003eSo much for the standard of recording, but it is for the interpretation of a now historic figure that this disc is valuable. Not that the sleeve-note helps at all in assessing Mengelberg. \"At first it may seem difficult,\" we are told, \"to imagine these two names (Mengelberg and Tchaikovsky) in association, the Dutch conductor whom we would sooner associate with the austere and the abstract, and in contrast the composer so vitally possessed by the Russian spirit and the sensuous experiences of life.\"\u003cbr\u003e\u003cbr\u003e\"The austere and the abstract\"? That was certainly not the Mengelberg I remembered from his 78s, and the performance itself bears out everything I expected and could hardly belie the sleeve-note more. In its way this is about the most wilful performance of Tchaikovsky's Fifth I have ever heard. The beginning of the Allegro starts the wilfulness off. The strings set a sensible enough tempo, but the clarinet and bassoon drag everything back with a markedly slower speed. If it was one instrumentalist playing the melody, one would say the conductor had been deliberately defied. But not Mengelberg, I imagine. The next few minutes treat us to some really astonishing pulling-about, and I only marvel at the way the Berlin players manage to keep together. There is the most extraordinary effect at the ends of phrases in the first subject on the dropping octave figure, a reduction to about halftime. The rule of loud meaning fast, and soft meaning slow, can rarely have been observed more exaggeratedly either in this movement or later.\u003cbr\u003e\u003cbr\u003eNowadays such an approach seems very old-fashioned indeed, quaint even. But some, I imagine, will enjoy this nonetheless, for as in the Mengelberg Pathétique dubbing issued by Telefunken last year, there is the urgency and excitement of a live performance. Admittedly there is less pulling-about in the finale, but even those who like the approach are likely to be disconcerted by the two big cuts. The first is from bar 218 to 324, sizeable enough you might think. But after the great imperfect cadence and the big pause comes another major cut. The coda is taken up without warning at bar 490 on the trumpet melody \"con tutta forza\". I seem to remember there was similar monkeying around in Mengelberg's earlier version for Columbia with the Concertgebouw, and that took no fewer than 14 sides—four more than normal! The Telefunken originally took 12. Austere? Well, hardly.\u003cbr\u003e\u003cbr\u003eE.G., The Gramophone, April 1963\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":34143993549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34143993613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC348_4670bb0f-8172-4467-8e0f-65c202e38034.jpg?v=1489594631"},{"product_id":"pasc348-cd","title":"MENGELBERG Tchaikovsky: Piano Concerto No. 1, Symphony No. 5 (1940) - PASC348 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478151181,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478151245,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC348_80e51ea9-cc58-4a13-b33a-8e43925ffc9c.jpg?v=1658308377"},{"product_id":"pasc350","title":"DORATI conducts Tchaikovsky, Albéniz and de Falla (1952\/57) - PASC350","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBENIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIberia\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDE FALLA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e La Vida Breve - Interlude and Dance\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1952 and 1957\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:40\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMinneapolis Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAntal Doráti\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Tchaikovsky Fifth is one of the most distinctive accounts I know578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI heard Antal Doráti conduct Tchaikovsky’s Fifth \nSymphony in concert with the National Symphony at the Kennedy Center in \nthe mid 1970s. In those days the only recording of the piece I owned was\n Otto Klemperer’s stately and spacious one, so Doráti’s quicker and more\n nervous way with the score left me baffled. I did enjoy the other two \nworks on the program, a Berlioz overture and a piece by John Alden \nCarpenter. The present recording from Minneapolis is a great one—but is \nit necessary, considering Doráti’s later London Symphony stereo version \non a Mercury Living Presence CD? Doráti’s LSO recordings were generally \nrehearsed in the studio without a prior performance. His Minneapolis \nLPs, on the other hand, were usually recorded in conjunction with the \norchestra’s concerts. The monaural Tchaikovsky Fifth sounds more \nlived-in by the orchestra, its members nevertheless are on the edge of \ntheir seats throughout. The tempos in Minneapolis are significantly \nfaster, too, except for the Waltz. While the 1952 sound engineering \ndoesn’t compare with the later stereo, Mercury’s single microphone \ntechnique captures a realistic balance, all the more thrilling given \nDoráti’s control over the orchestra. So, even if you have this \nconductor’s stereo Tchaikovsky Fifths from London and Washington, D.C., \nyou will still want to hear this exceptional performance from \nMinneapolis.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe introduction to the first movement is simple and unaffected, with beautiful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esostenuto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eplaying.\n Doráti takes the main section of the movement quickly, with terrific \nrhythmic lift throughout the orchestra. It really rocks. Doráti seems to\n find a parallel here with the opening movement of Schubert’s Ninth \nSymphony: Both feature a slow introduction, and Doráti’s tight rein on \nthe main section’s structure, with wonderfully characterful \ninterjections by the first chairs, highlights the resemblance. The \nstrings blend beautifully, producing thrilling sonorities. The slow \nmovement receives the most exciting rendition I’ve ever heard. It begins\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esotto voce\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with \nthe strings and first horn. The strings soon present their theme with \nvirile passion; there’s nothing weepy here. Doráti presses forward with \nthe tempo, as is familiar from his great recordings of the Tchaikovsky \nballets. The next movement is not your grandmother’s Tchaikovsky waltz. \nDoráti’s tempo is quick, urgent, and symphonic in nature, with none of \nthe little nudges it would receive from Mengelberg or Stokowski. In the \ncomparatively subdued passions of this movement, the tight orchestral \ndiscipline seems even more striking. Doráti takes the last movement, \nboth in the introduction and the main section, at surprisingly unhurried\n tempos, given what has come before. He appears to see this movement as a\n narrative structure, which he builds without interference. There is an \ninexorable push to the final peroration and coda, which are totally \nunsentimental. Thus ends a Tchaikovsky Fifth of great insight and taste.\n  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe conductor Enrique Fernández Arbós’s orchestration of selections from Isaac Albéniz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIbéria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a wonderful symphonic showpiece that is programmed all too rarely. \nDoráti’s recording was the first I owned, and is still my favorite. As a\n master of orchestral sound, Doráti remains unsurpassed, even by \nAnsermet. In the opening movement, the Minneapolis players set the \natmosphere beautifully, and the cello tone is particularly gorgeous. \nDoráti demonstrates the rhythmic acuity of a great ballet conductor in \nthe next movement, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl Corpus en Sevilla\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The trumpets here produce a terrific Latin sound. The big tune in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTriana\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is wonderfully plush and swinging, worthy of Carmen Dragon. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl Puerto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e has a sultry, Moorish quality, while the concluding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl Albiacin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e reveals a mysterious world of shadowy delights. Doráti’s rendition of the Interlude and Dance from Manuel de Falla’s opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa vida breve\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is the most intense I know. The first violins perform like one great \nviolinist. Perhaps Rafael Druian, the concertmaster, is responsible for \nthe bowings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Spanish works were released on a Mercury \nLiving Presence CD I haven’t heard, but I can’t imagine anyone being \ndissatisfied with Andrew Rose’s remasterings. On my Mercury Wing LP, the\n Albéniz has great presence but a rather boxy quality. Rose has greatly \nopened up the sound around the orchestra, even if the early stereo \nsometimes lacks definition. If you must have digital sound, Enrique \nBátiz is excellent in the Albéniz and Jesús López-Cobos’s complete \nversion of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa vida breve\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is worth having as well. I like Leonard Bernstein on DG in the \nTchaikovsky. While Andrew Rose is turning his attention to early Mercury\n recordings with Doráti, I hope he won’t neglect this conductor’s mono \nFrench album, which contains my favorite \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePavane for a Dead Princess\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n As for the Tchaikovsky Fifth, it is one of the most distinctive \naccounts I know. In Doráti’s hands, there’s not a tired moment in the \npiece, and more than a few which are really startling. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:3 (Jan\/Feb 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC350.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eDoráti in fiery form in these recordings of Russian and Spanish music\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eMercury Living Presence sound brought up to date with XR remastering\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThese recordings, made just five years apart, demonstrate in their original forms the advances in recording technology that took place between 1952 and 1957. The Tchaikovsky, in mono and with limited frequency extension, sounded as if from another era. But it's the same orchestra and conductor, and I've attempted to convey this in the remastering of all three works, with significant benefits to the earlier LP's sound, which is now considerably improved and realistic, though some very high frequency \"fuzz\" is occasionally audible.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe two stereo recordings were much more successful, and here I've been able to make the very most of the full extension both at the top end and in the very deep bass, to convey the wonderfully evocative and dramatically Spanish intent of the conductor.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 27-29 April 1952 \u003cbr\u003eIssued as Mercury MG 50008 \u003cbr\u003ePresented in Ambient Stereo\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eALBENIZ \u003c\/strong\u003e(orch. Arbós) Iberia\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDE FALLA \u003c\/strong\u003eLa Vida Breve - Interlude and Dance\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 21 April 1957 \u003cbr\u003eIssued as Mercury SR 90007 \u003cbr\u003eStereo recordings\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eMinneapolis Symphony\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eAntal Doráti \u003c\/strong\u003econductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eTransfers by Edward Johnson \u003cbr\u003eCover artwork based on a photograph of Antal Doráti\u003cbr\u003e\u003cbr\u003eTotal duration: 74:40\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\/PASC350.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC350.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Tchaikovsky)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eDorati\n grasps the fiery work with both hands, throwing none of it away. Right \nfrom the crisp \"till ready \" of the allegro of the first movement it is \nclear that this is going to be an alert performance and the alertness \ndoes in fact continue until the very end. Sometimes, arguably, a bit too\n much so: in the slow movement, after the pizzicato chords, when the \nviolins take over the horn's original tune—is this not pushing on a bit \ntoo vigorously ?\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThe orchestra responds to Dorati with some very \nalive playing. The violas in particular are unusually strong—this was \nnoticeable, too, in the same orchestra's recording of the Mozart \u003cem\u003eG minor Symphony\u003c\/em\u003e,\n reviewed here this month ; could it be anything to do with the \nmicrophone placing ? \"A single Telefunken microphone hung about 15 feet \ndirectly over the conductor's podium\" is the recipe; it does seem \nstrategically placed for the violas. (Not, in passing, for the bassoons—\n their last notes to the first movement of the Tchaikovsky are quite \nlost.)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThe recording is vivid, matching the performance \nideally. With the opening of the slow movement re-made, I would have \nlittle difficulty in believing this to be the best available version...\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eM.M., The Gramophone\u003c\/strong\u003e, June 1954, \u003cem\u003eexcerpt\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Albéniz, de Falla)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eI started here with the \u003cem\u003eVida Breve\u003c\/em\u003e extracts —the atmospheric Interlude and the gay \u003cem\u003eFirst Dance\u003c\/em\u003e.\n Excellent playing, and very life-like recording in both mono and stereo\n versions. A slight lift of the eyebrows at what struck me as an \nexaggerated broadening of the tempo at the heavy string theme in the \u003cem\u003eDance\u003c\/em\u003e, but on the whole very good indeed.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAnd then, having dug out the Argenta version for \ncomparison, I settled down to the Arbós orchestrations of five of the \nIberia suite—\u003cem\u003eEvocación, El Corpus en Sevilla, Triana, El Puerto\u003c\/em\u003e and \u003cem\u003eEl Albaicin\u003c\/em\u003e.\n Critics seem to spend most of their time sighing \"If only...\" In this \ncase, faced with first-rate playing by the Minneapolis Orchestra and \nfine recording by Mercury, one's constant thoughts are \"If only Antal \nDorati weren't in such an almighty hurry all the time...\" and \"If only \nArgenta could have had the advantage of this orchestra and the best \nmodern recording...\"\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eL.S., The Gramophone\u003c\/strong\u003e, April 1960, \u003cem\u003eexcerpt\u003c\/em\u003e\u003c\/span\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 24-bit FLAC","offer_id":34144801869,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34144801933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34144801997,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC350.jpg?v=1489595693"},{"product_id":"pasc350-cd","title":"DORATI conducts Tchaikovsky, Albéniz and de Falla (1952\/57) - PASC350 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478151885,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478151949,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC350_76d5ce8a-32d1-43e8-80df-1448b301c1e6.jpg?v=1658308500"},{"product_id":"pasc375","title":"FABIEN SEVITZKY conducts the Philadelphia Chamber String Simfonietta (1927-40) - PASC375","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVARIOUS COMPOSERS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA selection of shorter works\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1927-1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:17\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhiladelphia Chamber String Simfonietta \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnyone who loves the chamber orchestra will want to hear the Philadelphia Chamber String Simfonietta. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Philadelphia Chamber String Simfonietta was \nformed in 1925 by 17 string players from Stokowski’s Philadelphia \nOrchestra. Its conductor, Fabien Sevitzky, was a double bass player in \nthe orchestra. He was a nephew of conductor Serge Koussevitzky, a \nvirtuoso on the double bass. Within two years, the Simfonietta was \nrecording for Victor. It was the first permanent string orchestra in the\n world, and as such its recordings were influential in their time. \nSevitzky would go on to a full time conducting career, winning \nconsiderable acclaim for his 18 seasons with the Indianapolis Symphony. \nThat activity by Sevitzky would eventually bring the Simfonietta’s \ncareer to a close in the 1940s. Much of the Simfonietta’s charm comes \nfrom Sevitzky’s conducting. While its players were accustomed to making a\n calorically rich, heavy string sound for Stokowski and Ormandy, their \nsound for Sevitzky in the Simfonietta is clear, refined, and elegant, \nalthough with all the technical finish and panache one expects from the \nPhiladelphia Orchestra. Sevitzky’s performances have a clarity, balance,\n and insight all their own. Indeed, the Simfonietta’s playing is at \nleast the equal of any chamber orchestra’s that succeeded it. The \nbreadth and occasional novelty of its repertoire guaranteed it a good \ncritical response in its time. What Mark Obert-Thorn gives us on this CD\n are the complete officially issued recordings of the Simfonietta. \nListening to them is no antiquarian exercise. The recordings are as \nvital and persuasive today as when they were made.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Simfonietta’s first recording session included Marco Enrico Bossi’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntermezzi goldoniani\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, a frisky, entertaining work that shows off the ensemble’s virtuosity to great advantage. Also set down then were Grieg’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTwo Elegiac Melodies\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in as moving a performance as I’ve ever heard. The Simfonietta returned\n to the studio two years later, in 1929. The elegance of Sam Franko’s \narrangement of a Bach Sinfonia is a far cry from the heavy breathing \nBach-Stokowski creations these artists were playing at that time. Arcady\n Dubensky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGossips\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a delightful pizzicato study, premiered in Philadelphia only five \nmonths prior to the recording. The Elegy from Tchaikovsky’s Serenade for\n Strings sounds stately, intimate, and unaffected. Percy Grainger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLondonderry Air\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (“Danny Boy”) gives the Simfonietta the opportunity to display its warmth without being cloying, while they play Grainger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolly on the Shore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n rare finesse and wit. Also in 1929, the Simfonietta made the premiere \nrecording of Ernest Bloch’s Concerto Grosso No. 1, introduced four years\n earlier in Cleveland. If you are familiar with Howard Hanson’s great \nrecording of this with the Eastman-Rochester Orchestra, you will be \nstruck by how much more crisp and incisive Sevitzky’s interpretation is.\n Sevitzky’s tempos at times are faster, and where Hanson can count on a \nlarger, more lush string section, Sevitzky’s strings are nimbler and \neven somewhat astringent. Both accounts are persuasive, and I cannot say\n which one I prefer. The work’s baroque origins, however, are more \nclearly evident from Sevitzky.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Simfonietta’s final recording session was in \n1940. They played three charming and atmospheric orchestral selections \nfrom André Grétry’s operas, with consummate elegance. The main work at \nthis session was Anton Arensky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVariations on a Theme of Tchaikovsky\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This recording unfortunately was not released until after the attack on\n Pearl Harbor; the recycled shellac it was pressed on compromised the \nsound quality. Nevertheless, Sevitzky leads a great performance. The \ntouchstone for me in this work always has been John Barbirolli’s version\n with the London Symphony. Sevitzky is more classical than Barbirolli in\n his phrasing, in tune with the type of conducting prevalent in Russia \nduring Arensky’s lifetime. The vibrato rich, heart on sleeve conducting \nof Russian music is a later creation. What’s more, Sevitzky’s players \nare more technically assured than Barbirolli’s. They are sensitive to \nevery nuance of Sevitzky’s interpretation, always producing a full yet \nwell-defined sound. I cannot imagine Arensky’s masterpiece being better \nserved than by the Simfonietta. Mark Obert-Thorn, in addition to giving \nus listenable and usually appealing transfers of these recordings, also \nhas furnished an excellent program note. Perhaps interest in this CD \nwill spur Pristine into reissuing Sevitzky’s Indianapolis recordings. \nAnyone who loves the chamber orchestra will want to hear the \nPhiladelphia Chamber String Simfonietta. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC375.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eSevitzky's Philadelphia Chamber String Simfonietta - complete 78rpm recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eA fabulous array of recordings by this ground-breaking American ensemble collected together for the first time\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis release presents for the first time in any extended-play format the complete issued 78 rpm recordings of a pioneering ensemble under its enterprising founder and conductor.* Fabien Sevitzky (1893–1967), a nephew of Serge Koussevitzky, was perhaps best known as the music director of the Indianapolis Symphony Orchestra from 1937 to 1955. Prior to that, however, he founded what was claimed to be the first permanent string orchestra ensemble in the world.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDrawing seventeen players from the ranks of Stokowski’s Philadelphia Orchestra (of which he himself was a bass player from 1923 to 1930), Sevitzky presented the first concert of his Philadelphia Chamber String Simfonietta in 1925. Within two years, they made their first recordings for Victor, following up with another series two years later. Eleven years were to pass before they stood before the microphone again for their last session. They disbanded as Sevitzky’s involvement in Indianapolis increased.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe novelty of the ensemble, a wide-ranging repertoire, and a high level of playing from what was then arguably the finest orchestral string section in the world, led to high praise from contemporary critics. Herbert Peyser of the New York\u003cem\u003e Telegram\u003c\/em\u003e wrote in 1929, “Orchestral or chamber music have brought few things outside Toscanini’s works of wonder to exceed them.”\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were American Victor editions: Orthophonic pressings for the Bossi \u003cem\u003eBurlesca\u003c\/em\u003e, the two Grieg pieces and the Tchaikovsky; wartime “Silver” label copies for the Arensky; and prewar “Gold” label pressings for the remainder. The earlier recordings were made in Victor’s Camden Church Studio, a small, unreverberant venue that tended to give an edge to violin tone and boominess to the lower strings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first two sides of the Bloch (the world-première recording of the work) were originally recorded on 10-inch matrices and then dubbed to 12-inch sides, with a resulting degradation in sound. For the last session, the ensemble recorded in the warmer, more expansive acoustic of the Academy of Music, but was hampered, in the case of the Arensky, by substandard wartime pressings made from recycled shellac.\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\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBOSSI \u003c\/strong\u003eIntermezzi goldoniani, Op. 127 \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 12 February 1927 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. CVE-37812-2 and BVE-37813-2. First issued on Victor 9129 and 4022\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRIEG \u003c\/strong\u003eTwo Elegiac Melodies, Op. 34\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 12 February 1927 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-37814-2 and CVE-37815-2. First issued on Victor 4022 and 9129\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. S. BACH \u003c\/strong\u003e(arr. Sam Franko) Sinfonia from Cantata No. 156 (“Arioso”)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix no. CVE-51825-2. First issued on Victor 9598 in album M-66\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDUBENSKY \u003c\/strong\u003eGossips \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix no. BVE-51826-1. First issued on Victor 4186\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY \u003c\/strong\u003eElegie from Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-51827-3 and 51828-3. First issued on Victor 4151\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRAINGER \u003c\/strong\u003eLondonderry Air \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eGRAINGER \u003c\/strong\u003eMolly on the Shore \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-51829-1 and CVE-51830-2. First issued on Victor 4186 and 11560\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBLOCH \u003c\/strong\u003eConcerto Grosso No. 1 \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eCharles Linton\u003c\/strong\u003e, \u003cem\u003epiano obbligato\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 9 May 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. CVE-48999-3R, 48992-2R, 48993-2, 48994-2 and 48995-2 \u003cbr\u003eFirst issued on Victor 9596 through 9598 in album M-66\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003ePantomime (from \u003cem\u003eZemire et Azor\u003c\/em\u003e) \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003eMarche (from \u003cem\u003eLa caravane du Caïre\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003eTambourin (from \u003cem\u003eDenys le tyran\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 October 1940 in the Academy of Music, Philadelphia \u003cbr\u003eMatrix nos. CS-056562 and 056563 (no take numbers listed) \u003cbr\u003eFirst issued on Victor 13590\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eARENSKY \u003c\/strong\u003e\u003c\/strong\u003eVariations on a Theme of Tchaikovsky, Op. 35a \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 October 1940 in the Academy of Music, Philadelphia \u003cbr\u003eMatrix nos. CS-056558-1, 056559-1, 056560-2 and 056561-1 \u003cbr\u003eFirst issued as Victor 11-8153 and 11-8154 in album M-896\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePhiladelphia Chamber String Simfonietta \u003cbr\u003eFabien Sevitzky \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSpecial thanks to Bill Anderson, Nathan Brown, Richard Kaplan, Charles Niss and Don Tait \u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\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\u003eAdditional pitch stabilisation work by Andrew Rose \u003cbr\u003eCover artwork based on a photograph of Fabien Sevitzky\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 77:17\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\/PASC375.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC375.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":34189511373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34189511437,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC375.jpg?v=1489680102"},{"product_id":"pasc375-cd","title":"FABIEN SEVITZKY conducts the Philadelphia Chamber String Simfonietta (1927-40) - PASC375 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478173069,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478173133,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC375_e63a1adb-a0ba-4509-9ada-fac6447669a1.jpg?v=1658309092"},{"product_id":"pasc396","title":"MRAVINSKY conducts Tchaikovsky Symphonies 4-6 (1960) - PASC396","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6 in B minor, Op. 74 'Pathétique'\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo 1960\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 11:22\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeningrad Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eYevgeny Mravinsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere’s real openness now and a sense of space in the hall and around the instruments, and the violins now soar upward into the stratosphere as if relieved of the gravity that was previously holding them captive578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is a bit of a departure from Andrew Rose’s \nusual fare; at least it is from among his remastered Pristine recordings\n I’ve personally received for review. For this release, Rose has left \nbehind the electrical, acoustic, and 78 recordings of yore, and \ntraveled, as if by time machine, all the way into the era of modern \nstereo technology; for these are the famous, indeed legendary, \nTchaikovsky symphony performances recorded in 1960, in stereo, by \nYevgeny Mravinsky while on tour with the Leningrad Philharmonic. The \nFourth Symphony was recorded at Wembley Town Hall in London in September\n of that year, while the Fifth and Sixth symphonies were recorded two \nmonths later in the Großer Saal of Vienna’s Musikverein. These are the \nperformances that have been long available in a two-disc Deutsche \nGrammophon set (419745), though they have been issued and reissued \ncountless times in various configurations by both Deutsche Grammophon \nand other labels.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThough this is the first time I’ve had the \nopportunity to review Mravinsky’s Tchaikovsky myself, I’ve consistently \ncited the conductor’s performances of the symphonies as referential \nbenchmarks when reviewing other versions of these scores, and I’ve \nsteadfastly maintained my belief that they belong in the collection of \nanyone who’s serious about this music. Mravinsky managed readings of \nthese works that benefit from tense, taut, high-voltage performances, \nwhile simultaneously maintaining strict discipline so that Tchaikovsky’s\n neurotic emotionalism remains under control. The result is music-making\n that delivers tremendous dramatic punch, all the more so for its \nfeeling of pent-up energy always on the verge of exploding.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn his producer’s note, Rose cites limitations in \nthe original mastering of these recordings, and states, “My aim in \ncarrying out a 32-bit XR remastering of the recordings was to see \nwhether a harmonic rebalancing of the recordings might serve to \neliminate these reservations, and I’m pleased to report that substantial\n improvements have been possible. The sound of the originals was \nunusually boxy for 1960, with a rather constricted top end and a lack of\n real depth in the bass. All three of these shortcomings have been \nresolved here, bringing an even greater sense of immediacy and realism \nto these fabulous performances.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSince I’ve had the original mastered-for-CD \nDeutsche Grammophon set in my collection for years, it was easy to \ncompare it to Rose’s restoration effort to hear how much of a \ndifference, if any, actually exists between them. First, I will say that\n I think I know what Rose means when he describes the sound of the \noriginal source recordings as “boxy.” It’s a bit dead, as in having \nlittle or no air or atmosphere around it, and there’s little \nfront-to-back dimensional depth. I would also agree that \nfrequency-response-wise, the high end is a bit constricted or \nattenuated.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese two deficiencies have indeed been \ncompensated for, quite remarkably so, I’d have to say, in Rose’s \nrefurbishment. There’s real openness now and a sense of space in the \nhall and around the instruments, and the violins now soar upward into \nthe stratosphere as if relieved of the gravity that was previously \nholding them captive. The one aspect on which I’m not sure Rose has \nimproved much, if any, is the bass response. Maybe it’s just a function \nof our individual hearing, but my Deutsche Grammophon CDs reproduce the \nlow bass firmly and with satisfying impact. I honestly can’t say I hear a\n significant difference in the low-register department, which, to my \near, was never really deficient to begin with.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other noted improvements, however, are very \nwelcome and more than enough to warrant a strong recommendation for this\n release. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC396.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;\"\u003eMravinsky's legendary 1960 Tchaikovsky Late Symphonies\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eStereo DGG recordings in stunning new 32-bit XR remasters \u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eYevgeny Mravinsky made these recordings with the Leningrad Philharmonic Orchestra for DGG whilst on a tour of western Europe in the autumn of 1960 in sessions which took place in London (Symphony No. 4) and Vienna (Symphonies 5 \u0026amp; 6). Although regarded still today as pillars of the recorded canon, reviews both upon release in 1961 and, quoted here, upon reissue in the 1970s, found something lacking sonically. Likewise contemporary reviews of the currently-available DGG CDs. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eMy aim in carrying out a 32-bit XR remastering of the recordings was to see whether a harmonic rebalancing of the recordings might serve to eliminate these reservations, and I'm pleased to report that substantial improvements have been possible. The sound of the originals was unusually boxy for 1960, with a rather constricted top end and a lack of real depth in the bass. All three of these shortcomings have been resolved here, bringing an even greater sense of immediacy and realism to these fabulous performances.\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cstrong\u003eTCHAIKOVSKY Symphony No. 4 in F minor, Op. 36\u003c\/strong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14, 15 September 1960 \u003cbr\u003eWembley Town Hall, London \u003cbr\u003eFirst issued as DGG SLPM138657 \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cstrong\u003eTCHAIKOVSKY Symphony No. 5 in E minor, Op. 64\u003c\/strong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 9,10 November 1960 \u003cbr\u003eGroßer Saal, Musikverein, Vienna \u003cbr\u003eFirst issued as DGG SLPM138658\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cstrong\u003eTCHAIKOVSKY Symphony No. 6 in B minor, Op. 74 'Pathétique'\u003c\/strong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003eRecorded 7-9 November 1960 \u003cbr\u003eGroßer Saal, Musikverein, Vienna \u003cbr\u003eFirst issued as DGG SLPM138659\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003eLeningrad Philharmonic Orchestra\u003cbr\u003eYevgeny Mravinsky, \u003c\/strong\u003e\u003c\/strong\u003econductor\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Mravinsky\u003c\/p\u003e\u003cp\u003eTotal duration: 2hr 11:22\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\/PASC396.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC396.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f 1. \"Turning to the Mravinsky performances one is in another world. \nThey tingle with the excitement and electricity that a great live \nperformance generates. His record of No. 4 has tremendous personality \neven if it is not without idiosyncratic touches. Although the brass in \nthe Leningrad orchestra has a tendency to blare at times, the fact \nremains that the refinement and imagination that informs the string \nplaying and the beauty of their phrasing puts them in a class of their \nown. Mravinsky's approach is carefully thought out and his shaping of \nthe architecture, though at times personal, has the merit of greater \norganic logic. Some of the dynamic markings are not scrupulously \nobserved but microphone placing may account for some of this...\"\u003cbr\u003e\u003cp\u003e\u003cbr\u003e2.\n \"Mravinsky's accounts of the late Tchaikovsky symphonies have \ntremendous tension and virtuosity, a sense of spiritual commitment and \nemotional power that are quite out of the ordinary. Even when, as \nhappens at one point in the first movement of the Fourth Symphony, he \nignoes the dynamic markings he does so with such conviction that you are\n left with the feeling that he is right. These transfers seem to me as \nevery bit as good as the originals that I played relatively recently (I \nhave only sampled these copies) and although my allegiance to \nMravinsky's earlier record-now deleted-with the Leningrad Philharmonic \nof the Pathetique remains unshaken (DGM18334, 2\/57), this later version \nis still one of the most moving and thrilling accounts of the work \ncommitted to record. These performances radiate a tremendous power, a \nsense of truth and authenticity of experience and they remain for me at \nany rate among the classics of the gramophone.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cem\u003e\u003cstrong\u003eR.L., The Gramophone\u003c\/strong\u003e\u003cbr\u003eExcerpts: 1. November 1973 (from box set reissue), 2. December 1974 (from individual LP reissues)\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\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":"Stereo 24-bit FLAC","offer_id":34278294541,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34278294605,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34278294669,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC396.jpg?v=1489767384"},{"product_id":"pasc396-cd","title":"MRAVINSKY conducts Tchaikovsky Symphonies 4-6 (1960) - PASC396 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478183117,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478183181,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC396_4f378a23-8873-49df-8f62-0abf3334459e.jpg?v=1658309600"},{"product_id":"pasc200","title":"ALWYN conducts Tchaikovsky - first Decca stereo LP (1958) - PASC200","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSK\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e1812 Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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;\"\u003eCapriccio Italien\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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;\"\u003eMarche Slave\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1958\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 39:06\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon 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;\"\u003eKenneth Alwyn \u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ewith \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Band of H.M. Grenadier Guards\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDirector of Music \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMajor F. J. Harris MBE\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC200.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eDecca's first \"SXL\" stereo LP - a Tchaikovsky spectacular\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eA new series launched - literally - with a bang, now fully XR remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBy 1958, Decca has been recording in stereo for four years, regularly sending out two production teams, one to make the stereo master, the other the mono master. Each team of producer and engineer worked independently of the other to produce the optimum sound for their system. However, when a system for the successful replay of stereo discs was finally unveiled in 1958, it seems the company decided a new and spectacular recording was required for the very first record in their new stereo series of SXL discs, something that could utilise all of the experience amassed over the previous as-then-unreleased stereo sessions.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eClearly the 1812 Overture here is designed as a showpiece. The stereo imagery is both very wide and very precise, and if the studio trickery that produced the \"cannon shots\" (over-dubbed speeded-down gunshots panned around on tape and chopped roughly together) sounds desperately primitive today, the effect when heard for the first time was surely enough to launch a hundred discs of stereo marching bands and steam trains to thunder through your living room. Yet, as the Gramophone reviewer in October 1958 pointed out, \"\u003cem\u003eThis is all loud music ; or at least it certainly has its share of loud moments. It would seem to be a good programme for showing off the, new medium (not only in consideration of the more massive passages); and as a programme it is helped notably by 1812 being allowed to conclude a side, as it clearly must a programme... This combination should be, and is, shattering; but, even so, the virtues of the recording are perhaps more readily perceived in some quieter moments—particularly in the Italian Capriccio, which reproduces the music in places with quite startling clarity.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt is a very well-recorded album, and this transfer, from a near-mint and very well pressed first edition LP, demonstrates this very well. I have resisted the temptation to pull in the extreme stereo width a little. Beyond correcting an odd frequency gap at around 260Hz and lifting the extreme top end (above 10kHz) a little, the sound is pretty much unaltered beyond a general 'tightening up' . Some surface swish on the second side required intervention, but otherwise it's a pretty honest representation of that 1958 release. As the Gramophone reviewer concluded, \"\u003cem\u003eIn every respect, in fact, this is a first-class record\u003c\/em\u003e\".\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e*N.B. The title of this release, \"Tchaikovsky First Stereo Orchestral Recordings\", isn't intended to suggest that these were the first recordings of music by Tchaikovsky ever made in stereo, which is highly unlikely! It refers, of course, to this being Decca's first stereo LP issue. \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e1812 Overture\u003c\/strong\u003e, Op. 49*\u003c\/span\u003e (15:05)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCapriccio Italien\u003c\/strong\u003e, Op. 45\u003c\/span\u003e (14:04)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMarche Slave\u003c\/strong\u003e, Op. 31\u003c\/span\u003e (9:57)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conductor \u003cstrong\u003eKenneth Alwyn\u003c\/strong\u003e\u003cbr\u003e with *\u003cstrong\u003eThe Band of H.M. Grenadier Guards\u003c\/strong\u003e\u003cbr\u003e Director of Music \u003cstrong\u003eMajor F. J. Harris MBE\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 2nd and 8th May, 1958, Kingsway Hall, London\u003cbr\u003e Mono production team: Pr: Erik Smith, Eng: Peter van Biene\u003cbr\u003e Stereo production team: Pr: Michael Williamson, Eng: Kenneth Wilkinson\u003cbr\u003e \u003cbr\u003eFirst issued in August 1958 as Decca SXL2001\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\u003eTransfers and XR remastering by Andrew Rose at Pristine Audio, November 2009\u003cbr\u003e Total duration: 39:06\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\/PASC200.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC200.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":34425093389,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34425093453,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34425093517,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC200.jpg?v=1489999818"},{"product_id":"pasc200-cd","title":"ALWYN conducts Tchaikovsky - first Decca stereo LP (1958) - PASC200 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478186061,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478186125,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC200_d2780bdc-d422-480a-9d4d-8a1e3e682edb.jpg?v=1658243670"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Tchaikovsky.jpg?v=1495804462","url":"https:\/\/www.pristineclassical.com\/collections\/composer-tchaikovsky.oembed?page=18","provider":"Pristine Classical","version":"1.0","type":"link"}