{"title":"Thomas","description":"\u003cp\u003eAmbroise Thomas (1811-1896) was a French composer, best known for opera. Born in Metz, he studied at the Paris Conservatoire, won the Prix de Rome and later became director of the Conservatoire.\u003c\/p\u003e\u003cp\u003eHis operas include \u003cem\u003eMignon\u003c\/em\u003e and \u003cem\u003eHamlet\u003c\/em\u003e, both of which enjoyed major success in the nineteenth century. He also wrote other stage works, sacred music and songs.\u003c\/p\u003e\u003cp\u003eThomas’s music is graceful, theatrical and vocally effective, with a strong sense of French operatic style. It favours clarity, melody and stage proportion.\u003c\/p\u003e\u003cp\u003eThough his reputation has narrowed, \u003cem\u003eMignon\u003c\/em\u003e in particular kept his name alive for generations. Thomas represents the polished machinery of nineteenth-century French opera at full working temperature.\u003c\/p\u003e","products":[{"product_id":"paco004","title":"SINGHER French Operatic Arias (1945) - PACO004","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMARTIAL SINGHER\u003c\/b\u003e  French Operatic Arias\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1945\u003cbr\u003eDuration 32:41\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMartial Singher\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eMetropolitan Opera Orchestra\u003c\/b\u003e\u003cbr\u003eConductor: \u003cb\u003ePaul Breisach\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO004.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis\n wonderful recording takes us from one of the earliest operas ever \nwritten in French, Lully's 1684 \"Amadis\", through a host of the \nhighlights of French opera, ending up with perhaps one of the most \nfamous arias of all time, the Toreador Song from Bizet's Carmen. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNot only is \nthe sound quality superb from these 78rpm discs and a joy to restore, \nbut the singing is marvellous throughout and the Metropolitan Opera \nOrchestra lives up to its high reputation. This really is a recording to\n savour over and over again!\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter \ngraduating from the Univeristy of Toulouse, Martial Singher went to \nParis intending to become a professor of French literature! It was in \nParis that he discovered his fine Baritone voice, and thus instead \nSingher studied singing at the Paris Conservatoire with bass André \nGresse. His operatic debut was in Gluck's \u003cem\u003eIphigénie en Tauride\u003c\/em\u003e in November 1930 at the Stadsschouwburg in Amsterdam under Pierre Monteux. His official Paris Opéra debut was as Athanaël in \u003cem\u003eThaïs\u003c\/em\u003e the following month. His big break occurred when he replaced Vanni Marcoux in 1931 as Iago in \u003cem\u003eOtello\u003c\/em\u003e, which led to an Opéra contract as a leading baritone which he held for nearly a decade. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n He fled occupied France for the United States on a visitor’s visa en \nroute to South America in 1940 and in the same year he married Margareta\n (Eta) Rut Busch, the daughter of the conductor Fritz Busch. He returned\n to the Colón in 1942 and 1943, and then sang 162 performances with the \nMetropolitan Opera. He taught at the Curtis Institute of Music in \nPhiladelphia, and Mannes College of Music in New York. Singher succeeded\n Lotte Lehmann as the Director of Voice and Opera at Santa Barbara’s \nMusic Academy of the West from 1962 to 1981. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSINGHER\u003c\/b\u003e French Operatic Arias (1945)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLully - Amadis - Bois epais, redouble ton ombre\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGretry - Richard, Coeur de Lion - Blondel's Air\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBerlioz - The Damnation of Faust - Mephistopheles' Air\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBerlioz - The Damnation of Faust - Serenade\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBerlioz - The Damnation of Faust - Song of the Flea\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGounod - Romeo et Juliette - Ballad of Queen Mab\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThomas - Hamlet - Chanson Bachique\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMassenet - Herodiade - Vision Fugitive\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOffenbach - Tales of Hoffmann - Scintille diamant\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBizet - Carmen - Toreador Song\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eShared recording information:\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMartial Singher\u003c\/b\u003e, baritone\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMetropolitan Opera Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConductor: \u003cb\u003ePaul Breisach\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eReleased as Columbia Masterworks Set M-578 (71678-D - 71681-D)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 32:41)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO004.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO004.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":2670795325466,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":2670795358234,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO004_5be3fd44-bb52-49e1-8ea8-3d179df8862c.jpg?v=1509358802"},{"product_id":"paco004-cd","title":"SINGHER French Operatic Arias (1945) - PACO004 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve","offer_id":33991014285,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO004_d2f813aa-e75f-4932-9dfe-8eaad0cc21b8.jpg?v=1657120078"},{"product_id":"pasc185","title":"DRAGON conducts French and Italian Classics (1956\/57) - PASC185","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eFRENCH MUSIC \u003c\/b\u003eby \u003cb\u003eLISLE\u003c\/b\u003e, \u003cb\u003eDEBUSSY\u003c\/b\u003e, \u003cb\u003eTHOMAS\u003c\/b\u003e, \u003cb\u003eDELIBES\u003c\/b\u003e, \u003cb\u003eOFFENBACH\u003c\/b\u003e, \u003cb\u003ePADILLA\u003c\/b\u003e, \u003cb\u003eGOUNOD\u003c\/b\u003e, \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eITALIAN MUSIC \u003c\/b\u003eby \u003cb\u003eDENZA\u003c\/b\u003e, \u003cb\u003eMASCAGNI\u003c\/b\u003e, \u003cb\u003ePAGANINI\u003c\/b\u003e, \u003cb\u003eWOLF-FERRARI\u003c\/b\u003e, \u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e, \u003cb\u003eBOHN\u003c\/b\u003e, \u003cb\u003eCURTIS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1956 and 1957\u003cbr\u003eTotal duration: 68:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Hollywood Bowl Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Capitol Symphony Orchestra\u003c\/b\u003e\u003cbr\u003earranged and conducted by \u003cb\u003eCarmen Dragon\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC185.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eCapitol Records were, in the 1950s, one of the pioneers of stereo recordings, both in the popular and classical field, and for some time made entirely separate recordings of albums in both mono and stereo formats. This can be heard clearly in recordings by the likes of Frank Sinatra, where, for example a close-up multi-miking technique was employed for the mono recording of 'Come Dance With Me', resulting in both greater impact and intimace, whilst the stereo recording was made with two or three overhead microphones, capturing an entirely different perspective of the same recording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs such, some of these early Capitol stereo recordings are considered to have worked better in their mono format, whereas others fared better in stereo. The selections here, taken from two albums recorded in 1956 and 1957 and probably destined originally for reel-to-reel tape release prior to the commercial development of the stereo LP, almost certainly fall into the latter category. The sound is big and wide - an ideal way to show off one's new-fangled stereo 'hi-fi' equipment!\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEdward Johnson's excellent LP transfers have been further enhanced by the use of XR remastering - as with many orchestral releases of this era there was a tendency to a certain shrill glassiness in the upper strings and a slight hole in the lower mid-range. With these relatively minor adjustments in place, together with a taming of a degree of bottom-end boom the recordings really came to life. We suspect that in both cases the orchestral players were probably an assortment of members from the LA Philharmonic and possibly some of the film studio orchestras. The fact that they're given two different names for the purposes of these two LPs doesn't rule out the strong possibility that they were largely the same outfit.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEither way, this is an excellent 'fun' release, with Dragon's superb arrangements excellently played and recorded. If, in the words of Edward Johnson, our sample track \u003cem\u003eFuniculi Funicula \u003c\/em\u003edoesn't get you \"dancing around the kitchen table\" then either you have no kitchen, or your kitchen has no table...\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eDRAGON\u003c\/b\u003e conducts French and Italian Classics (1956\/57)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFrom the LP \"La Belle France\"\u003c\/b\u003e rec. 7-9 November 1957\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Capitol Symphony Orchestra, conducted by Carmen Dragon\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLa Marseillaise - Rouget de Lisle\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePremière Arabesque - Debussy\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePolonaise from Mignon - Thomas\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFrère Jacques - Traditional\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWaltz from Coppelia - Delibes\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCan-Can from Orpheus in the Underworld - Offenbach\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAlouette - Traditional\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eParee! - Padilla\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSur le Pont d'Avignon - Traditional\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFaust Waltz - Gounod\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMy Heart At Thy Sweet Voice - Saint-Saëns\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eFrom the LP \"L'Italia\"\u003c\/b\u003e rec. 5-6 July 1956\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Hollywood Bowl Symphony Orchestra, conducted by Carmen Dragon\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFuniculi Funicula - Denza\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntermezzo from Cavalleria Rusticana - Mascagni\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMoto Perpetuo - Paganini\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDance of the Camorristi - Wolf-Ferrari\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCapriccio Italien - Tchaikovsky\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTarantella - Bohn\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCome Back to Sorrento - De Curtis\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransfer from Capitol SP8427 and SP8351 by Edward Johnson\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRestoration and XR remastering by Andrew Rose, August-September 2009\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Carmen Dragon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 68:50\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC185.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC185.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":36095832013,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205577294158,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205577326926,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC185_d8ca569a-aaf0-4b49-b72a-44e4aa22fdc2.jpg?v=1492433242"},{"product_id":"pasc185-cd","title":"DRAGON conducts French and Italian Classics (1956\/57) - PASC185 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205577261390,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC185_cb52e0db-a6db-4a78-b267-035fd31cbf79.jpg?v=1658243182"},{"product_id":"pasc192","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eFirebird Suite\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eOverture to 'Tannhäuser'\u003cbr\u003e\u003cb\u003eBRAHMS, GRIEG, MOZART, WEBER, BEETHOVEN\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTHOMAS, RIMSKY-KORSAKOV, GOUNOD, LIADOV\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1917-1924\u003cbr\u003eTotal duration: 70:37\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOf considerable interest for Stokowski admirers and those who are interested in the history of recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSure enough, in the same mail that brought me that\n Cala finale was a CD titled “Stokowski—Acoustic, Volume One.” I am not \nclear on whether it is merely the first volume of his acoustic \nrecordings or the first volume of a complete Stokowski series or \nsomething in between. Time will tell. Why do people continue to exhume \nthese sonic antiques? A respect for history? Admirable sentiment. A \ndesire to milk every last decibel and frequency wave from those hissing \nshellac grooves? Equally admirable. Stokowski, who began his \nPhiladelphia career in 1912, had initially resisted making recordings \nbecause he found them too primitive. Then, he changed his mind, \nexplaining, “I thought to myself: how stupid of you! You should record \nthis way and although it is bad and you should try to make better \nmethods of recording. . . . Then I tried to find better methods of \nrecording and very slowly they were made better but the first records \nwere made in 1917 and I’ve forgotten what they were. I’m glad I have \nbecause they were awful.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski’s early recordings were made in the \nauditorium of the New Office Building in Camden. I think some later ones\n were made in a Camden church. In those days, as many players as could \nbe accommodated were squeezed under a huge wooden horn. One source \nclaims that 90 Philadelphia Orchestra players made it under the horn. I \nsimply do not believe it. The orchestra sounds skimpy and brassy in the \nBrahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Nos. 5 and 6. I have read that, of the 450 acoustic sides he recorded, \nhe only approved 66. The selections on the CD are presented in \nchronological order of recording (skipping a few) so that one can \nactually hear a slight improvement by the time one arrives in 1924 for \nhis first of his eight recordings of the 1919 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n (I believe this is the record for one conductor recording the same \npiece), which Stravinsky had only assembled five years before the \nrecording. He cuts part of the finale, presumably to get the Suite onto \nfour sides. He also streamlines Felix Weingartner’s orchestration of \nWeber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n omitting repeats. Among the steps Stokowski took to try to improve the \nsound was shuffling the players around for better balance and having the\n horns face away from him so that the bells of the instrument would face\n the front. He changed the orchestration of some music, having the \nwoodwinds and brasses double some strings in the lower registers. You \ncan hear tuba or bass saxophone replacing double basses on some \nrecordings. He also tried various acoustic baffles to reflect the sound \nmore. He must have felt somewhat relieved in 1925, when electrical \nrecording came along, although Victor, at first, didn’t quite know what \nto do with it, continuing to record a reduced Philadelphia Orchestra in \nthe company’s dead Trinity Church studio in Camden, and substituting a \nbass saxophone for the double basses and a contrabassoon for the \ntimpani! By 1926, Victor’s engineers had gotten the message and the full\n orchestra began recording at the Academy of Music without any changes \nin the orchestration. Stokowski may have thought that some of these \nearly efforts were “awful,” but they may prove to be of considerable \ninterest for Stokowski admirers and those who are interested in the \nhistory of recording, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC192.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eStokowski made his first recordings with the Philadelphia Orchestra in 1917 though, as Edward Johnson has noted, \"between 1917 and 1924, they made an estimated 450 acoustic recordings, but the old method of playing into a large horn gave a very poor representation of orchestral sound, and of all their acoustic discs, only 60 or so were actually issued...\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIndeed, Stokowski's very first acoustic recordings were never released - his first attempts at the two Brahms Hungarian Dances included here were recorded on 22nd October, 1917, together with two works by Tchaikovsky. All four recordings were remade - in the case of the Brahms, just two days later, to become the first released recordings conducted by Stokowski.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt is indeed true, as Edward Johnson states, that in their 'natural' state, acoustic recordings made a pretty poor job of capturing anything much - though HMV's legendary producer Fred Gaisberg always had an affectionate soft spot for the way they captured the human voice. It has become a generalisation to state that the recordings captured little below 200Hz, and perhaps little above 2500Hz, or perhaps 3000Hz at a push.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, as these recordings demonstrate, this was not necessarily the case - though it often takes the kind of advanced restoration processing that Pristine's XR remastering brings to these recordings to uncover the real range and quality of acoustic recordings. In the case, for example, of the first recording on this collection, there's a full bass going down to (and possibly below) 70Hz - a frequency extension of almost two octaves over the accepted lower limits. Meanwhile, throughout the recording one can clearly hear string harmonics in the 3500-4000Hz range, and where the brass plays at full volume there's genuine audio content up at (and beyond) 5kHz, which is not far off the upper end of electrical recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn order to hear these extremes it has been necessary first to dramatically re-equalise sound that has been highly coloured and harmonically distorted by the horn it was recorded through. This therefore comprises the first stage of the XR process in this context. Secondly we then have to apply highly selective, targeted noise reduction to those frequencies which have received what has often been a quite enormous level boost, rooting out the noise and leaving as much of the actual recorded audio intact.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe results of this are genuinely astonishing - even more so when the records were slowed down to concert pitch (apparently it was common for Victor to deliberately record at below 78rpm so that their records sounded brighter when played back at their stated speed). The majority were out by up to a full semitone (though some were considerably closer to true concert pitch), and the correction of this adds further depth and authenticity to the instrumental sound, as well as giving a much more sensible idea of Stokowski's tempi.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recordings here, ordered by date of recording, include every piece (or version) that Stokowski only recorded once and in the acoustic era. It was astonishing to learn that his later studio recordings included neither Mozart's \u003cem\u003e40th Symphony\u003c\/em\u003e nor Beethoven's \u003cem\u003eEighth\u003c\/em\u003e, and that as a result the movements here represent his only studio-recorded comments on these major works. Meanwhile the Dresden version of Wagner's \u003cem\u003eTannhäuser Overture\u003c\/em\u003e was replaced by the later Paris version in all his subsequent recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFinally, I decided to add one work which Stokowski recorded more than any other conductor - Stravinsky's \u003cem\u003eFirebird Suite\u003c\/em\u003e, in a rare acoustic recording which was made right at the end of the acoustic era, and was swiftly remade in front of a microphone. Like many of the recordings in this collection, it has never been reissued on vinyl or CD.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese XR-remastered recordings probably serve to knock about ten years off the perceived age of many of these recordings (though they won't of course disguise the substitution of tubas for double basses) - and these remarkable recordings can be enjoyed as if they were recorded in the early days of electrical recordings, rather than the dying days of the acoustic horn - albeit with at times slightly higher surface noise.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e Acoustic, Volume 1 (1917-24)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Hungarian Dance No. 5 in G minor (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBRAHMS Hungarian Dance No. 5 in G minor\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24\/10\/1917, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 64752, Matrix B-20888-3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Hungarian Dance No. 6 in D (3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBRAHMS Hungarian Dance No. 6 in D\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24\/10\/1917, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 64753, Matrix B-20889-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Anitra's Dance from 'Peer Gynt' Suite No. 1, Op.46 (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGRIEG Anitra's Dance from 'Peer Gynt' Suite No. 1, Op. 46\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8\/11\/1917, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 64768, Matrix B-21067-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e 3. Menuetto, Symphony No. 40 in G minor, K550 (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMOZART 3. Menuetto, Symphony No. 40 in G minor, K550\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9\/5\/1919, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74609, Matrix C-22813-6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Invitation to the Dance, J260 (arr. Weingartner) (4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWEBER Invitation to the Dance, J260 (arr. Weingartner)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9\/5\/1919, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74598, Matrix C-22821-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93 (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20\/5\/1920, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74661, Matrix C-24127-3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Overture to 'Tannhäuser' (Dresden version) (13:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWAGNER Overture to 'Tannhäuser' (Dresden version)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7\/11 \u0026amp; 5\/12\/1921, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74758, 74759, 74768\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices C-22808-10, 22814-7, 24999-2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Fireworks, Op. 4 (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY Fireworks, Op. 4\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6\/11\/1922, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 1112, Matrix B-27064-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e Gavotte from 'Mignon' (1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTHOMAS Gavotte from 'Mignon'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6\/3\/1923, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 66172, Matrix B-27982-1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Dance of the Tumblers from 'Snow Maiden' (3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV Dance of the Tumblers from 'Snow Maiden'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19\/3\/1923, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74849, Matrix C-27938-1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGOUNOD\u003c\/b\u003e Waltz from 'Faust' (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGOUNOD Waltz from 'Faust'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1\/5\/1923, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 66171, Matrix B-27099-8\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Festive March from 'Tannhäuser' (4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWAGNER Festive March from 'Tannhäuser'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28\/4\/1924 \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 6478, Matrix C-29051-6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (16:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Introduction and Dance of the Firebird\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Round Dance of the Princesses\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Infernal Dance of the Kashchei\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Berceuse and Finale\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 13\/10\/1924, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 6492\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices C-30992-3, 30993-3, 30994-2, 30995-3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Dance of the Amazon, Op. 65 (2:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLIADOV Dance of the Amazon, Op. 65\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 13\/10\/1924, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 1112, Matrix B-31263-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfers by Edward Johnson\u003cbr\u003eRestoration and XR remastering by Andrew Rose, September 2009\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 70:37\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC192.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC192.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":36099399501,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205576245582,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205576278350,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205576311118,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC192_a3b7e471-e1c3-4b29-8f0e-8913a7fa1e3e.jpg?v=1615189105"},{"product_id":"pasc192-cd","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - 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STRAUSS II\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1927-29\u003cbr\u003eTotal duration: 75:51\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArtur Bodanzky\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC537.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Through an accident of history, Artur Bodanzky became one of the most well\n    documented conductors of his generation, with several complete recordings\n    (or, as complete as his controversial cuts would allow) of his Metropolitan\n    Opera broadcasts being preserved on acetate discs and disseminated through\nLP and CD releases. However, with only two exceptions (\u003cem\u003eFidelio\u003c\/em\u003e,    \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e), they center on the mature operas of Richard\n    Wagner, several of them in multiple versions. In order to get a more\n    rounded view of his artistry, one must turn to his commercial recordings,\n    which have seen scant availability since the 78 rpm era. (Indeed, to my\n    knowledge, there has never been any extended-play reissue devoted to\n    Bodanzky’s studio recordings before, with only the \u003cem\u003eLohengrin\u003c\/em\u003e Act 1\n    Prelude turning up on a couple conductor compilations.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Bodanzky was born in Vienna in 1877, studied at the Conservatory there, and\n    joined the Vienna Court Opera Orchestra as a violinist during Mahler’s\n    reign as music director. He later became an assistant to (and friend of)\n    the composer, and held conducting posts in Prague and Mannheim before the outbreak of\n    the First World War. In 1915, upon a recommendation from Busoni, Toscanini\n    hired him for the Metropolitan Opera in New York. He went on to head the\n    German wing there until his death in 1939.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Bodanzky’s first recordings were made in 1918 for Columbia with the\n    Metropolitan Opera Orchestra. Probably due to the virulently anti-German\n    feeling in America during the First World War, the selections focused on\n    orchestral excerpts from French and Italian operas. Two years later,\n    Bodanzky recorded several sides for Pathé with the New Symphony Orchestra,\n    an ensemble which soon after was absorbed by the New York Philharmonic.\n    Between 1920 and 1925, he made an extensive series of piano roll recordings\n    for Ampico, conducting duo-pianists (including Arthur Loesser and future\n    Met conductor Wilfred Pelletier) in symphonic repertoire, including\n    complete versions of the Beethoven Fifth, Schubert “Unfinished” and Dvořák\n    “New World” symphonies, as well as overtures and short works.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The final and most important series of commercial disc recordings Bodanzky\n    undertook were made in Berlin for the Lindström labels, Odeon and\n    Parlophon, between 1927 and 1929. The ensemble was composed of members of\n    the Berlin State Opera Orchestra, and the repertoire centered on German and\n    French opera and operetta overtures, waltzes and short works. Bodanzky’s\n    complete commercial recordings of Wagner, which are presented here in their\n    entirety, come from these sessions. Throughout, the hallmarks of Bodanzky’s\n    approach – generally rapid tempi and tight ensemble playing – are as\n    apparent here as in his much-admired Met broadcasts.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBODANZKY\u003c\/b\u003e conducts \u003cb\u003eWagner\u003c\/b\u003e et al (1927-29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eWAGNER: Tannhäuser – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: xxB 8073\/6 (Odeon O-8348\/9)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWAGNER: Lohengrin – Prelude to Act 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 September 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 2-20333\/4 (Parlophon P-9150)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWAGNER: Lohengrin – Prelude to Act 3\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 September 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix xxB 7786 (Odeon O-8321)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWAGNER: Die Meistersinger von Nürnberg – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 September 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices xxB 7783\/5 (Odeon O-8320\/1)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eMOZART: Die Zauberflöte – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 April 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 2-20758\/9 (Parlophon P-9829)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eBERLIOZ: The Damnation of Faust – Hungarian March\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 May 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 2-20917-2 (Parlophon P-9476)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eTHOMAS: Mignon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 May 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices xxB 8323\/4 (Odeon O-6739)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eOFFENBACH: Orpheus in the Underworld – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 April 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 2-20914\/5 (Parlophon P-9405)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eSUPPÉ: Morning, Noon and Night in Vienna – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 April 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 2-21387\/8 (Parlophon P-9403)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II: Die Fledermaus – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 April 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 2-20760\/1 (Parlophon P 9449)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eArtur Bodanzky ∙ Berlin State Opera Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Artur Bodanzky\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:51\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC537.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC537.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":12599482744893,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205545771342,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC537_dc643e70-0182-4cd7-9372-9ac16cf152da.jpg?v=1534949095"},{"product_id":"pasc537-cd","title":"BODANZKY conducts Wagner et al (1927-29) - PASC537 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC537.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205545738574,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC537_dba87ecb-5227-4f4c-978b-2af191171a37.jpg?v=1658745529"},{"product_id":"pasc657","title":"FREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003ePreludes \u0026amp; Orchestral Excerpts\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eHungarian Dances\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCarnival Overture\u003cbr\u003e\u003cb\u003eGOLDMARK \u003c\/b\u003eIn Springtime Overture\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Four Waltzes\u003cbr\u003e\u003cb\u003eSUPPÉ \u003c\/b\u003ePoet And Peasant Overture\u003cbr\u003e\u003cb\u003eTHOMAS \u003c\/b\u003eMignon Overture\u003cbr\u003emusic by \u003cb\u003eELGAR, SIBELIUS, HANDEL, MENDELSSOHN\u003c\/b\u003e et al\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1916-1926\u003cbr\u003eTotal duration: 2hr 30:36\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFrederick Stock\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC657.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release is the first in a series devoted to longtime Chicago Symphony\n    Orchestra music director Frederick Stock, and celebrates the 150th\n    anniversary of his birth. All of Stock’s symphonic recordings will be\n    featured in upcoming volumes (his four concerto recordings have already\n    been well-covered on CD reissues), presented in the order in which they\n    were recorded. Many items have not been available since the 78 rpm era. In\n    this volume, all of the acoustics except for the Mendelssohn are being\n    reissued for the first time, as are the electrics of the Dvořák and Thomas\n    overtures and two Strauss waltzes.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stock was born in Jülich, Germany, on 11 November 1872. His father, an army\n    bandmaster, provided his early musical training. He entered Cologne\n    Conservatory at the age of fourteen studying violin and composition; among\n    his teachers was Humperdinck, and Willem Mengelberg was a classmate. Upon\n    his graduation in 1890, he joined the Municipal Orchestra of Cologne as a\n    violinist. Five years later, he auditioned for the visiting Theodore\n    Thomas, who was recruiting players for his four-year-old Chicago Orchestra.\n    Thomas hired him initially as a violist, but within four years he\n    recognized Stock’s conducting talent and made him his assistant.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    When Thomas died suddenly in January, 1905, Stock served as interim music\n    director while the orchestra board attempted to secure the services of such\n    well-known European conductors as Weingartner, Richter and Mottl. When the\n    board’s efforts failed, Stock was appointed for a trial year. He was to\n    remain music director until his death thirty-seven years later (20 October\n    1942), a record surpassed among major American orchestras only by Ormandy’s\n    tenure with the Philadelphia, and by few other conductor\/orchestra\n    combinations throughout the world (Mengelberg\/Concertgebouw,\n    Mravinsky\/Leningrad).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stock’s recording career divides neatly into three periods. His Columbia\n    acoustics of 1916-17 (the first recordings made by a credited American\n    orchestra under its own music director) were succeeded, after an eight-year\n    hiatus, by a series of electrical recordings for Victor (1925-30) which\n    included Bach’s B Minor Suite, a Mozart 40th, Schumann’s “Spring” Symphony\n    and Tchaikovsky’s Fifth. After another nine-year absence from the\n    microphone, Stock and the Chicago Symphony rejoined Columbia for two\n    seasons (1939-40 and 1940-41) for an extensive string of recordings\n    including a Mozart “Prague”, the Schubert 9th, the Schumann Fourth, Brahms’\n    Third and \u003cem\u003eTragic\u003c\/em\u003e Overture, Tchaikovsky’s \u003cem\u003eNutcracker\u003c\/em\u003e\n    Suite, Strauss’ \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e and numerous short\n    “popular” works, as well as concerto recordings with Milstein and\n    Piatigorsky. Returning to Victor for what turned out to be his final full\n    season with the orchestra (1941-42), he made two much-admired Beethoven\nconcerto recordings with Schnabel, as well as Dvořák’s    \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e and the Chausson Symphony.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The acoustics and early electrics presented in this volume benefit from the\n    lack of re-scoring typical of other recordings of the era, in which tubas\n    reinforced the bass line and other instruments that “projected” better were\n    substituted for the original choices. Only the \u003cem\u003eParsifal\u003c\/em\u003e excerpt\n    seems to be notably lacking in tympani support, which is nonetheless heard\n    elsewhere among the acoustics. The sound on these reveals a reduced\n    ensemble in small venues; yet the well-disciplined playing of the orchestra\n    is apparent even in the earliest recordings. By the time of their first\n    sessions with the full ensemble in the rather over-reverberantly recorded\n    Orchestra Hall, the Chicago Symphony’s stature among the world’s great\n    ensembles has been firmly established, as has their conductor’s\n    rhythmically flexible and vital interpretive approach.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sources for the transfers were American Columbia “Tri-Color” label\n    pressings for the acoustics, and mainly “Z” and “Gold” label Victor\n    pressings for the electrics except for the Brahms, which came from a vinyl\n    test pressing. The second side of the Thomas overture and the Handel and\n    Elgar recordings were dubbed very early on in order to prevent blasting on\n    the heavy pickups of the day. These are presented here from undubbed first\n    edition “Orthophonic” pressings, which, though somewhat heavier in surface\n    noise, better preserve the immediacy and dynamic range of the original\n    recordings.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1 Columbia Acoustics, 1916 - 1917\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (74:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eMENDELSSOHN Wedding March from \u003ci\u003eA Midsummer Night’s Dream\u003c\/i\u003e \u003c\/b\u003e \u003cb\u003e, Op. 61\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48763-2 ∙ First issued on Columbia A5844\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWAGNER Ride of the Valkyries from \u003ci\u003eDie Walküre\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48764-2 ∙ First issued on Columbia A5903\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eGRIEG The Last Spring from Two Elegiac Melodies, Op. 34\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48766-2 ∙ First issued on Columbia A5844\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eSAINT-SAËNS Bacchanale from \u003ci\u003eSamson et Dalila\u003c\/i\u003e\u003c\/b\u003e \u003cb\u003e, Op. 47\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48770-1 ∙ First issued on Columbia A5903\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eTCHAIKOVSKY Waltz from \u003ci\u003eSleeping Beauty\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48772-1 ∙ First issued on Columbia A5860\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eJÄRNFELT Praeludium\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eFRANÇOIS SCHUBERT The Bee from Bagatelles, Op. 13, No. 9\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48776-3 ∙ First issued on Columbia A6014\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eBIZET \u003ci\u003eCarmen\u003c\/i\u003e – Prelude to Act 4 (Aragonaise)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBIZET \u003ci\u003eL’Arlésienne\u003c\/i\u003e – Farandole\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (1:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48794-2 ∙ First issued on Columbia A5860\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eWAGNER Parsifal – Processional of the Knights of the Holy Grail\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e    (4:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48796-1 ∙ First issued on Columbia A5894\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eWAGNER Lohengrin – Prelude to Act 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 May 1916 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 48803-2 ∙ First issued on Columbia A5894\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eSUPPÉ Poet and Peasant – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14 \u0026amp; 15 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 49193-2 \u0026amp; 49194-2 ∙ First issued on Columbia A5991\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II Thousand and One Nights – Waltz, Op. 346\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 49195-2 ∙ First issued on Columbia A6005\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eWOLF-FERRARI \u003ci\u003eJewels of the Madonna\u003c\/i\u003e - Intermezzo\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 15 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 49201-2 ∙ First issued on Columbia A6014\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eSIMONETTI (orch. Stock) Madrigale\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cb\u003eSCHUBERT (orch. Stock) Moment musical, D.780, No. 3\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 49203-2 ∙ First issued on Columbia A6026\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cb\u003eGLAZUNOV \u003ci\u003eLes Ruses d’Amour\u003c\/i\u003e, Op. 61 - Waltz\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 49204-1 ∙ First issued on Columbia A6026\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II Voices of Spring – Waltz, Op. 410\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 49207-1 ∙ First issued on Columbia A6005\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cb\u003eSMITH (orch. Stock) The Star-Spangled Banner\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cb\u003eCAREY (orch. Stock) America\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 49205-1 ∙ First issued on Columbia A5977\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cb\u003eMEACHAM American Patrol – March\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 May 1917 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 49206-2 ∙ First issued on Columbia A5977\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2 Victor Electrics – 1925 - 1926\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (75:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eDVOŘÁK Carnival – Overture, Op. 92\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19 December 1925 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 34049-2 \u0026amp; 34050-2 ∙ First issued on Victor 6560\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eGOLDMARK In Springtime\u003c\/b\u003e \u003cb\u003e – Overture, Op. 36\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 December 1925 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 34054-4 \u0026amp; 34055-5 ∙ First issued on Victor 6576\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMAC DOWELL (orch. Stock) Woodland Sketches, Op. 51\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e No. 6: To a Water Lily\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e No. 1: To a Wild Rose\u003cspan style=\"font-size: 12px;\"\u003e (2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1925 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: BVE 34065-5 \u0026amp; 34066-4 ∙ First issued on Victor 1152\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eSIBELIUS Valse triste from \u003ci\u003eKuolema\u003c\/i\u003e, Op. 44\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1925 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 34067-3 ∙ First issued on Victor 6579\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eVOLKMANN Waltz from Serenade for String Orchestra, Op. 63\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eRIMSKY-KORSAKOV Flight of the Bumble-Bee from \u003ci\u003eTsar Sultan\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (1:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1925 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 34068-3 ∙ First issued on Victor 6579\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eWAGNER \u003ci\u003eDie Meistersinger von Nürnberg\u003c\/i\u003e – Prelude to Act 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (9:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 37270-7 \u0026amp; 37271-6 ∙ First issued on Victor 6651\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II – Wine, Women and Song – Waltz, Op. 333\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 37272-4 ∙ First issued on Victor 6647\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II – Roses from the South – Waltz, Op. 388\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 37274-2 ∙ First issued on Victor 6647\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eTHOMAS \u003ci\u003eMignon\u003c\/i\u003e – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 37275-2 \u0026amp; 37276-3 ∙ First issued on Victor 6650\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS (orch. Dvořák) Hungarian Dances\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e No. 17 in F sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e No. 18 in D major\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e No. 19 in B minor\u003cspan style=\"font-size: 12px;\"\u003e (1:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e No. 20 in E minor\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e No. 21 in E minor\u003cspan style=\"font-size: 12px;\"\u003e (1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 \u0026amp; 22 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 37277 \u0026amp; 37283 ∙ Unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cb\u003eHANDEL – Largo from \u003ci\u003eSerse\u003c\/i\u003e (“Ombra mai fu”)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 22 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 37281-5 ∙ First issued on Victor 6648\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cb\u003eELGAR Pomp and Circumstance \u003c\/b\u003e \u003cb\u003eMarch No. 1, Op. 39\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 22 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 37282-3 ∙ First issued on Victor 6648\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eFrederick Stock ∙ Chicago Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eRecording locations: Columbia Studios, New York City (1916-17); Webster Hotel Ballroom, Chicago (1925); and Orchestra Hall, Chicago (1926)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 30:36\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC657.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC657.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 FLACe","offer_id":39822440595517,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205523063118,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC657_4d46d1cd-cb51-48fa-8ca0-e23d3bc54405.jpg?v=1723985676"},{"product_id":"pasc657-cd","title":"FREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":40096489799741,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205523030350,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC657.jpg?v=1759331577"},{"product_id":"pasc674","title":"JULIUS PRÜWER The Forgotten Maestro (1928-33) - PASC674","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont Overture\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003e\"Unfinished\" Symphony No. 8\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eHebrides Overture\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eRienzi Overture\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAcademic Festival Overture, Hungarian Dances\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Tales from the Vienna Woods - Waltz\u003cbr\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eBenventuo Cellini Overture\u003cbr\u003e\u003cb\u003eTHOMAS \u003c\/b\u003eRaymond Overture\u003cbr\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eDaughter of the Regiment Overture\u003cbr\u003e\u003cb\u003eLUIGINI \u003c\/b\u003eBallet égyptien\u003cbr\u003e\u003cb\u003eRUBINSTEIN \u003c\/b\u003eToréador et Andalouse\u003cbr\u003e\u003cb\u003eVLADIGEROV \u003c\/b\u003eBulgarian Suite\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1928-1933\u003cbr\u003eTotal duration: 2hr 29:07\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBerlin-Charlottenburg Opera Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJulius Prüwer\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC674.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release reissues for the first time since the 78 rpm era recordings by\n    Julius Prüwer, one of only three conductors who had a direct link to Brahms\n    and also recorded his music (the others being Weingartner and Max Fiedler).\n    While some of Prüwer’s discs as an accompanist to singers and pianist\n    Alexander Brailowsky have been previously reissued on LP and CD, this is\n    the first release devoted to his purely orchestral recordings.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Prüwer was born in Vienna in 1874 and showed early promise as a pianist,\n    attending a local conservatory from the age of 12 until he was 17. Hearing\n    Hans Richter conduct changed his focus, and from the age of 18 onward he\n    pursued a career as a conductor. After several years gaining experience in\n    various posts, he settled in Breslau in 1895 where he spent the next 28\n    years, eventually becoming director of the opera company there. Along the\n    way, he served as an assistant to Richter for several Bayreuth seasons at\n    the turn of the century.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the early 1920s, he went to Berlin to become a professor at the\n    Hochschule für Musik, where among his pupils were Ferdinand Leitner, Franz\n    Allers and Antonia Brico. In 1925, the Berlin Philharmonic appointed him to\n    be the permanent conductor of their popular concert series. With the coming\n    of the Nazi regime in 1933, he was removed from his post due to his Jewish\n    heritage, eventually finding work as music director of the orchestra of the\n    Jewish Cultural Association (Der jüdische Kulturbund). In 1939, he emigrated\n    to America, where he settled in New York City, teaching at the New York\n    College of Music, conducting the New York City Symphony Orchestra and\n    performing as a pianist. He died in 1943.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    During the late 1920s and early 1930s, Prüwer recorded prolifically for\n    Grammophon\/Polydor, setting down about 200 sides. Roughly half of these\n    were vocal accompaniments, with the rest being orchestral recordings,\n    including the first piano concertos of Chopin and Liszt with Brailowsky\n    (reissued on Pristine PAKM 078 and 079, respectively). As with other\n    conductors the label was recording at the time, including Wilhelm\n    Furtwängler, Erich Kleiber and Otto Klemperer, the orchestral repertoire\n    was largely limited to overtures and short works, with only an occasional\n    foray into longer-form compositions. The Kristall recording of the Luigini\n    ballet music presented here was his last, made a month before his dismissal\n    from the BPO was announced.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    It is difficult to generalize about Prüwer’s interpretive style. In more\n    serious repertoire, such as the \u003cem\u003eEgmont\u003c\/em\u003e Overture and Schubert\n    “Unfinished”, he takes a very deliberate approach, with his tempo for the\n    development section of the first movement of the Schubert being\n    particularly broad. By contrast, in opera overtures and short pieces, his\nperformances could be highly energetic and colorful. (The    \u003cem\u003eBenvenuto Cellini\u003c\/em\u003e Overture suggests that his Berlioz might have\n    ranked in the exalted league of Munch and Harty.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Various sources claim that Prüwer was a friend of Brahms and may have\n    studied privately with him, so it is particularly apropos that all of his\n    recordings of that composer are presented here. The Strauss is one of only\n    two pre-war recordings to present \u003cem\u003eTales of the Vienna Woods\u003c\/em\u003e\n    complete with zither solo and repeats, during an era when some versions\n    still truncated it to a single side. The music of Pancho Vladigerov was\n    popular in Berlin in the late Twenties, and Prüwer’s committed performance\n    of his \u003cem\u003eBulgarian Suite\u003c\/em\u003e makes one wonder why this marvelous score\n    has not been taken up by more conductors since.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sources for the transfers were German Grammophon pressings, German and\n    French Polydors, British Deccas, American Brunswicks and German Kristalls.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eJULIUS PRÜWER \u003c\/b\u003eThe Forgotten Maestro\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (71:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eBEETHOVEN Egmont, Op. 84 - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 685 \u0026amp; 686 bi I ∙ First issued on Polydor 95281\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Symphony No. 8 in B minor, D759 “Unfinished”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt. - Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (12:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt. - Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (12:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1313, 1314, 1315 ½, 1316 ½, 1317 \u0026amp; 1318 bm I ∙ First issued on Polydor 66784\/6\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1219 \u0026amp; 1220 bm I ∙ First issued on Polydor 19905\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 682, 683 \u0026amp; 684 Bi I ∙ First issued on Polydor 19815\/6\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 October 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1408 ½, 1409 \u0026amp; 1410 bm I ∙ First issued on Polydor 95210\/1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eMENDELSSOHN Hebrides Overture, Op 26\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:35)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eWAGNER Rienzi - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:46)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eBRAHMS Academic Festival Overture, Op. 80\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (10:27)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS Hungarian Dances\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e No 5 in G minor\u003cspan style=\"font-size: 12px;\"\u003e (2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e No 6 in D major\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1602 \u0026amp; 1603 bk I ∙ First issued on Polydor 21643\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1284, 1285 \u0026amp; 1286 bm I ∙ First issued on Polydor 95252\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14 January 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1573 \u0026amp; 1574 BM I ∙ First issued on Polydor 27058\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1182 ½ \u0026amp; 1183 bm I ∙ First issued on Polydor 19899\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II Tales from the Vienna Woods - Waltz, Op. 325\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (11:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eErnst Rommel \u003c\/b\u003e(zither)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded April 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1056 ½, 1057 ½ \u0026amp; 1058 ½ bm I ∙ First issued on Polydor 19859\/60\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eBERLIOZ Benvenuto Cellini, Op. 23 - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (10:27)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eTHOMAS Raymond - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:56)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eDONIZETTI The Daughter of the Regiment - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (7:25)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLUIGINI Ballet égyptien, Op. 12\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt. - Andante sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt. - Andante espressivo\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded c. February, 1933 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: C 4638-2, 4639, 4640-2 \u0026amp; 4641-1 ∙ First issued on Kristall 1051\/2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14 January 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 1572 ½ BM I ∙ First issued on Polydor 95254\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eRUBINSTEIN Toréador et Andalouse, Op. 103, No. 7\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVLADIGEROV\u003c\/b\u003e Bulgarian Suite, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 1st Mvt. - Quasi marcia\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 2nd Mvt. - Lied\u003cspan style=\"font-size: 12px;\"\u003e (7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 3rd Mvt. - Kettentanz\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 4th Mvt. - Ratschenitza\u003cspan style=\"font-size: 12px;\"\u003e (7:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1607, 1608 ½, 1609 ½ BM I; 680 ½ Bi I; 1618 ½ \u0026amp; 1619 ½ BM I ∙ First issued on Polydor 95257\/9\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e  (CD 1; CD 2, Tracks 2, 3, 4 \u0026amp; 9)\u003cbr\u003e\u003cb\u003eBerlin-Charlottenburg Opera Orchestra\u003c\/b\u003e (CD 2, Track 1)\u003cbr\u003e\u003cb\u003eOrchestra\u003c\/b\u003e  (CD 2, Tracks 5 through 8)\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e  (CD 2, Tracks 10 through 13)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJulius Prüwer\u003c\/b\u003e,  conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to Nathan Brown, Jim Cartwright’s Immortal Performances, Inc., David Hoehl, Fane Jones and Charles Niss for providing source material, and to Michael Gray and Oliver Wurl for discographic information\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eAll Polydor recordings made in the Hochschule für Musik, Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 29:07\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC674.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC674.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":40316468658237,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205519688014,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC674_5a2ef70f-6c8a-4e31-bce0-e665b03764af.jpg?v=1666336506"},{"product_id":"pasc674-cd","title":"JULIUS PRÜWER The Forgotten Maestro (1928-33) - 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Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO242.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 \u0026 Ambient Stereo 24-bit FLAC","offer_id":60993603469646,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":60993603404110,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":60993603436878,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO242.jpg?v=1790655802"},{"product_id":"paco242-cd","title":"Maria Callas Arias, Vol. 3: Great Scenes \u0026 Mad Scenes - PACO242 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1955 \u0026amp; 1958\u003cbr\u003eTotal duration: 75:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO242.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":60993603600718,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60993603633486,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO242_a3e1fb5c-caaa-410d-886e-3d0cfd9ec400.jpg?v=1790655806"}],"url":"https:\/\/www.pristineclassical.com\/collections\/composer-thomas.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}