{"title":"Walton","description":"\u003cp\u003eWilliam Walton (1902-1983) was an English composer whose music combines rhythmic bite, lyrical intensity and brilliant orchestral colour. Born in Oldham, he first came to prominence through the Sitwell circle.\u003c\/p\u003e\u003cp\u003eHis works include \u003cem\u003eFaçade\u003c\/em\u003e, the Viola Concerto, the First Symphony, \u003cem\u003eBelshazzar’s Feast\u003c\/em\u003e, the Violin Concerto, film scores and ceremonial music including \u003cem\u003eCrown Imperial\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eWalton’s style is sharp, dramatic and richly scored, capable of jazzy wit, public splendour and private melancholy. He brought a harder modern edge to British music without abandoning lyrical force.\u003c\/p\u003e\u003cp\u003eHis reputation rests on a compact but highly individual catalogue. Walton’s best music has polished brass, clenched rhythm and a surprisingly vulnerable pulse beneath the armour.\u003c\/p\u003e","products":[{"product_id":"paco018","title":"BOULT Walton: Belshazzar's Feast (1953) - PACO018","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eBelshazzar's Feast\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1953\u003cbr\u003eDuration 34:40\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDennis Noble\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eLondon Philharmonic Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Sir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO018.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSome ten years after composer William Walton conducted the first \nrecording of his oratorio, Belshazzar's Feast [available here as \nPACO017] , Sir Adrian Boult made this, the first recording for LP issue,\n on the Nixa label. For contractual reasons, the original orchestra was \ncredited as the \"Philharmonic Promenade Orchestra\" - the British \nLibrary's Sound Archive Catalogue has corrected this to the London \nPhilharmonic Orchestra.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording was issued in 1954, at \nabout the same time as HMV released a transfer of their 78rpm recordings\n on LP for the first time. However, it was clear that purely in terms of\n sound quality, the new recording easily outshone its shellac \nequivalent, and within a few years Walton was back in the EMI studios \nsetting down a stereo recording.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen we released Walton's \nrecording I was unaware that Peter had also transferred and remastered \nthe Boult recording a short while earlier. I decided to test the \nPristine Audio Natural Sound technique with the Boult as I had all the \nnecessary files on my system fresh from their earlier use. To both \nPeter's an my surprise the sound of the Nixa recording was transformed, \nand we're delighted to offer this superb recording with this additional \nrestoration.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoult's recording was very well-received - this is \nthe review in The Record Guide of 1955 (which gave it a double-star, \ntheir highest accolade):\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"The text of this oratorio was selected \nand arranged from the Book of Isaiah by Sir Osbert Sitwell. There is \nsome beautiful and quiet choral writing near the opening of the work, \nbut the rhythmic ferocity of the finale recalls the first movement of \nthe [first] Symphony. The piece is a tour de force, and when adequately \nperformed (as in this set) it is irresistibly exciting. Considering the \nhigh dynamics, and the weight of the combined orchestra and chorus, the \nNixa recording of this strenuous work is a considerable engineering \nfeat. The HMV SP set (now deleted) made a sensation in its day (1943) \nand still sounds remarkably well; but we think it was stupid of the \ncompany to attempt the transfer of this recording to LP, for the result \nis deplorably bad - a mere adumbration of the original. The singing of \nthe LPO choir lacks something of the thrilling attack of the \nHuddersfield singers; but all in all the Nixa recording is a splendid \nachievement. \"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT\u003c\/b\u003e \u003cb\u003eWalton\u003c\/b\u003e: Belshazzar's Feast (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eBelshazzar's Feast\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThus spake Isaiah\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIf I forget thee, O Jerusalem\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBabylon was a great city\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePraise ye the god of gold\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThus in Babylon\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAnd in that same hour\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThen sing aloud to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe trumpeters and pipers are silent\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThen sing aloud to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded at Walthamstow Assembly Hall, London, 10 September, 1953.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally released at Nixa LP NLP 904.\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eTransfer and digital remastering by Peter Harrison at disk2disc,\u003cbr\u003ewith further Natural Sound processing by Andrew Rose, March 2007.\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 34:40\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDennis Noble\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eLondon Philharmonic Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Sir Adrian Boult\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\/PACO018.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO018.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":33989217037,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33989217101,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO018.jpg?v=1489416441"},{"product_id":"paco074","title":"ROGER WAGNER CHORALE Walton, Bach, Vaughan Williams (1960) - PACO074","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eBelshazzar's Feast\u003cbr\u003e\u003cb\u003eJ. S. BACH \u003c\/b\u003e Cantata No. 4: Christ lag in Todes Banden, BWV4\u003cbr\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Mass in G minor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in stereo in London and Hollywood, 1960\u003cbr\u003eTotal duration: 79:52\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eVarious Soloists\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConcert Arts Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Roger Wagner Chorale\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoger Wagner\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a really good Belshazzar's Feast and it took me quite by surprise578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003eThese are all stereo recordings sourced from the collection of Edward \nJohnson. Pristine are pretty sure that these recordings, taken down from\n American LPs, have not been reissued before. They have been treated, so\n we are assured, to a great deal of technical tender love and care. The \nresults sound good - probably as good as they have ever sounded.  \u003cbr\u003e\n\u003cbr\u003e\nThis is a really good \u003ci\u003eBelshazzar's Feast\u003c\/i\u003e and it took me quite by \nsurprise. This 50+ year old recording opens the door on a reputation \nthat has slipped silently into the mist. This Wagner deserves better. I \nwonder what else he recorded. All Waltonians should get this and compare\n it with the other greats: Previn's for EMI and my other outsider - also\n American - Ormandy on Sony. The oak-sturdy ‘bassy’ baritone is John \nCameron: his projection is all lofty oratory, condemnation and \nexultation. The choir has been drilled to precision and combines the \npower of a massive engine with the precision of a scalpel. If Wagner has\n injected the faintest trace element of Hollywood glow it certainly \nsuits the music. The instrumental detail is magnificently well rendered \nin stereo. One small detail: this recording sports the work's best anvil\n sound ever. It rings true and loud.  \u003cbr\u003e\n\u003cbr\u003e\nWhile the Bach is old-fashioned big-band stuff you might enjoy its \ncaramelised and super-smooth remission from HIP rigour. Certainly it \nswims against the torrent of the times. True-blue adherents of \nauthenticity might like to try it when they need something to rail \nagainst. The RVW Mass is right at the opposite pole to the EMI Classics \none of yore. This is more broodingly passionate Rachmaninov \u003ci\u003eVespers\u003c\/i\u003e\n than Byrd. I liked it, having found myself only fleetingly engaged by \nthe Willcocks EMI version. Whether this is authentic RVW I doubt. It may\n even enrage some but in it we hear the composer as urgent pilgrim. It’s\n more a matter of ardour than ascetic devotion and as such is more in \ntouch with the RVW presented in the television documentary: \u003ci\u003eThe Passions of Vaughan Williams\u003c\/i\u003e. \u003cbr\u003e\n  \u003cbr\u003e\nSome intriguing material here and a totally enjoyable \u003ci\u003eBelshazzar\u003c\/i\u003e that should shake some dust out of the rafters.\n      \u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRob Barnett\u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"TIMESb\"\u003eMusicWeb International, March 2014\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO074.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese transfers came from the generous collection of Edward Johnson, \nto whom I am once more grateful. The discs were both issued in the USA \nin 1961 but we do not believe elsewhere, nor have they been reissued \nbefore. XR remastering has done much to clarify diction and relieve a \nsomewhat \"plummy\" tonal quality, and I've attempted to ameliorate the \nrather unpleasant and obvious reverberation used on Belshazzar's Feast \nwith careful use of a modern convlution reverb. The average pitch of the\n recordings was around A=443Hz - given that altering this to 440Hz would\n have lengthened the overall duration to beyond that of a CD I elected \nto keep it. I've also dealt with quite a lot of pre- and post-echo, \nparticularly in the Walton recording.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eROGER WAGNER CHORALE\u003c\/b\u003e \u003cb\u003eWalton\u003c\/b\u003e, \u003cb\u003eBach\u003c\/b\u003e, \u003cb\u003eVaughan Williams\u003c\/b\u003e (1960)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eBelshazzar's Feast\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Thus spake Isaiah\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. If I forget thee, O Jerusalem\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Babylon was a great city\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Praise ye the god of gold\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Thus in Babylon\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. And in that same hour\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Then sing aloud to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. The trumpeters and pipers are silent\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Then sing aloud to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eJohn Cameron\u003c\/b\u003e baritone\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Roger Wagner Chorale\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoger Wagner\u003c\/b\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded at Abbey Road Studio 1, London, 19-22 September 1960.\u003cbr\u003eTransfer from Angel S-36015.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued in 1961 (USA only) on Capitol SP 8577\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Cantata No. 4: Christ lag in Todes Banden, BWV4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Sinfonia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBach: Cantata 4 — 2. Christ lag in Todes Banden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Den Tod niemand zwingen kunnt\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;\"\u003e4. Jesus Christus, Gottes Sohn\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Es war ein wunderlicher Krieg\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Hier ist das rechte Osterlamm\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. So feiern wir das hohe Fest\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Wir essen und leben wohl\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS \u003c\/b\u003eMass in G minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Kyrie\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Gloria\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Credo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Sanctus — Osanna 1 — Benedictus — Osanna 2\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Agnus Dei\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 10–22:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDoralene McNelly\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eAlice Ann Yates\u003c\/b\u003e alto\u003cbr\u003e\u003cb\u003eMichael Carolan\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eCharles Scharbach\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003ePaul Salamunivich\u003c\/b\u003e cantor\u003cbr\u003e\u003cb\u003eConcert Arts Orchestra\u003c\/b\u003e(Bach)\u003cbr\u003e\u003cb\u003eThe Roger Wagner Chorale\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoger Wagner\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in Hollywood in 1960.\u003cbr\u003eTransfer from Angel S-36014.\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued in January 1961 (USA only) on Capitol SP 8535\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eFront cover artwork based on a photograph of \u003cb\u003eRoger Wagner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, March 2012\u003cbr\u003eRecorded in stereo in London and Hollywood, 1960\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\/PACO074.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO074.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":33844165709,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":33844165837,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":33844165965,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO074.jpg?v=1489154847"},{"product_id":"paco017","title":"WALTON conducts Walton: Belshazzar's Feast (1943) - PACO017","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eBelshazzar's Feast\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1943\u003cbr\u003eDuration 33:31\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDennis Noble\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eHuddersfield Choral Society \u0026amp; Brass Bands\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLiverpool Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e William Walton\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO017.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Superbly\n taken, with Walton's conducting even more electric and impulsive than \nin his later stereo version, and with Dennis Noble unsurpassed as the \nbaritone soloist. The 'writing on the wall' sequence has never sounded \ncreepier\"\u003cbr\u003e- Gramophone Good CD, DVD and Download Guide, 2007 \u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis premiere recording of Walton's \u003cem\u003eBelshazzar's Feast\u003c\/em\u003e,\n with the composer conducting, is remarkable in many respects. It owes \nits existence to a degree to the work of the British Council, who had \ncommissioned a number of recordings with which to promote British \nculture during and after the Second World War (they began this series in\n 1942 with a recording of Moeran's Symphony in G minor).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThus it was that in early 1943 the legendary producer \nWalter Legge managed to assemble the full forces required to record the \nwork - full orchestra, chorus, two brass bands, organ and soloist - and \nwith Walton at the baton the recording can only be described as \ndefinitive. It's also interesting to note that Walton later revised the \nwork considerably - first in 1948 and then, to a lesser extent, in 1959 \n(the year that Walton conducted his second, and first stereo, \nrecording).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording was well-received - this is the review in \u003cem\u003eThe Record Guide\u003c\/em\u003e of 1951 (which gave it a star):\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003ci\u003e\u003cem\u003e\"The text of this oratorio was selected and arranged \nfrom the Book of Isaiah by Sir Osbert Sitwell. There is some beautiful \nand quiet choral writing near the opening of the work, but the rhythmic \nferocity of the finale recalls the first movement of the [first] \nSymphony. The piece is a tour de force\u003c\/em\u003e, and when adequately \nperformed (as in this set) it is irresistibly exciting. Considering the \nhigh dynamics, and the weight of the combined orchestra and chorus, the \nrecording of this strenuous work is a considerable engineering feat.\"\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e conducts \u003cb\u003eWalton\u003c\/b\u003e: Belshazzar's Feast (1943)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eBelshazzar's Feast\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThus spake Isaiah\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIf I forget thee, O Jerusalem\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBabylon was a great city\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePraise ye the god of gold\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThus in Babylon\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAnd in that same hour\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThen sing aloud to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe trumpeters and pipers are silent\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThen sing aloud to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3rd \u0026amp; 10th January, 1943 at Philharmonic Hall, Liverpool\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV C.3330-4, Matrix numbers 2ER 661-670\u003cbr\u003eTakes: 3, 2, 1, 2, 2, 2, 2, 1, 2, 1\u003cbr\u003eNatural Sound remastering by Andrew Rose, March 2007\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 33:31\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDennis Noble\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eHuddersfield Choral Society \u0026amp; Brass Bands\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLiverpool Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e William Walton\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 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Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":33989108493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33989108557,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO017_b9f1a183-ca3d-4fe3-9649-3861d3dec794.jpg?v=1489416319"},{"product_id":"paco074-cd","title":"ROGER WAGNER CHORALE Walton, Bach, Vaughan Williams (1960) - PACO074 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve 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(+MP3)","offer_id":40478104269,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO018_d31568d1-a248-4e4d-b108-d6a22c00db5a.jpg?v=1657119977"},{"product_id":"pasc398","title":"PIATIGORSKY plays Walton and Dvorák Cello Concertos (1957\/60) - PASC398","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, Op. 104\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in stereo, 1957 \u0026amp; 1960\u003cbr\u003eTotal duration: 72:08\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGregor Piatigorsky\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Munch\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Walton is capable of thriving with several different approaches and, needless to say, it does with Piatigorsky and Munch578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow nice: What may be my two favorite cello \nconcertos, though not necessarily my favorite performances of them, on \none very good-sounding CD. I wonder how many of our readers have nearly \ntwice as many recordings of the Walton Concerto as they do of the \nDvořák, which is the case with me. Gregor Piatigorsky commissioned the \npiece and gave the world premiere in Boston, with Charles Munch \nconducting, in 1957. Shortly thereafter, they recorded it for RCA; the \nLP coupling was Bloch’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Schelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n When it was transferred to CD, it was coupled with the Dvořák Concerto.\n Piatigorsky’s grandson, himself a cellist, told me that, when they \ndigitalized the recording, for some reason RCA used an outtake of one of\n the two last movement cadenzas that had a mistake in it. I assume that \nAndrew Rose used the LP to make this fine CD. The first movement begins \nwith a long, meandering theme that returns throughout the movement \nsometimes echoing themes from the orchestra. Walton stirs things up into\n an agreeable stew. Like his earlier Viola and Violin concertos, this \none has a flashy, tricky Scherzo framed by outer movements that, at \nleast, start at moderate-to-slow tempos. For contrast, Walton offers a \nslower theme that evokes Kurt Weill’s “Speak Low.” The last movement is a\n theme and variations (Walton calls them “improvisations”), two of which\n take the form of solo cadenzas. It’s a striking touch. Then, as in his \nprevious two string concertos, Walton ties things up with a reminiscence\n of the opening theme.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn preparation for this review, I auditioned nine \nrecordings: Műller-Schott\/Previn, Ma\/Previn, Cohen\/Litton, \nStarker\/Slatkin, Lloyd Webber\/Marriner, Wallfisch\/Thomson, Hugh\/Daniel, \nFournier\/Walton, and (Jamie) Walton\/Briger. Actually, I could live with \nany of them, from the expansive Hugh\/Daniel and Cohen\/Litton to the \nrestrained Lloyd Webber\/Marriner to the austere Starker\/Slatkin to the \nhard-driving Fournier\/Walton. Like almost any good piece, the Walton is \ncapable of thriving with several different approaches and, needless to \nsay, it does with Piatigorsky and Munch. The cellist’s big hands easily \nencompass the fingerboard, his bowing arm is true, and he handles all \nthe solo trickery that Walton throws at him with dispatch. Munch \nprovides an aggressive accompaniment which supports his soloist quite \nnicely. Although Piatigorsky believed in the piece, he was dissatisfied \nwith the subdued ending and wanted something more decisive. Walton \neventually accommodated him, but the cellist died before he could \nperform it. Basically, the change involves the insertion of a brief \nlouder passage for the orchestra before the Concerto fades out quietly. \nIt’s really not much of a change but, for the curious, Jamie Walton \n(presumably no relation) was enterprising enough to record it. On his \nCD, you can also program the piece to conclude with the original ending.\n Given that I like all the performances, I suppose couplings would be \ndecisive if I didn’t want multiple recordings.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMost \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n subscribers, I would imagine, already have at least one recording of \nthe Dvořák Concerto. He actually wrote a much earlier one, but the \nB-Minor Concerto is so dominant that it’s simply referred to as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Dvořák Cello Concerto. I suppose many people know that one of the \nstimuli that brought the piece about was Dvořák’s attendance at the \nworld premiere of the Cello Concerto No. 2 by his colleague at the \nNational Conservatory in New York, Victor Herbert. Brahms was so taken \nby Dvořák’s piece that he reputedly said that, if he had known one could\n write such a good cello concerto, he might have written one himself. I \nrealize that our reactions to performances are largely subjective. \nObjectively, I can hear that Piatigorsky is the master of his instrument\n and that Munch and the Boston Symphony provide a strong, spirited \naccompaniment. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSub\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ejectively,\n the cellist’s performance strikes me as jaded, as if he’s played the \npiece so much that he’s almost on automatic pilot. I’m sure he wasn’t, \nbut I was unmoved by what I heard and I suspect that, while the piece \nobviously engaged his formidable abilities, it failed to engage his \nsympathies. I may be wrong, but there it is. Given the number of \nrecordings of this Concerto that are available, I wouldn’t even dare to \nrecommend one but I think this one, for all its obvious virtues, resides\n somewhere in the middle of the pack. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:5 (May\/June 2014) of Fanfare Magazine\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC398.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePiatigorsky's recording of Willam Walton's Concerto for Cello and Orchestra, which the cellist had commissioned and given the work's first performance of just days before this recording was made, also with the Boston Symphony Orchestra under Munch was criticised at the time for its recording balance - the Gramophone's reviewer noting that: \"Piatigorsky is throughout made to sound as close to us as he would be to the conductor in the concert-hall, and the result is a completely unnatural balance between soloist and orchestra.\" I am inclined both to agree and disagree with this diagnosis - the balance between soloist and orchestra is good, in my opinion, yet Piatigorsky does sound curiously exposed in the original. \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis, I believe, is partly a result of the tonal balance of the recording cutting some of the lower-end warmth of the cello, leaving it a little disembodied, thin and stark. It's also a rather dry recording, thus exacerbating this problem - like the human voice, the cello responds well to complementary acoustic resonances in the performance space, and here they were lacking, leaving the instrument sounding rather disconnected. These are both shortcomings I've tackled in this XR remaster, and I think most listeners will agree that a most delicious sound is the result - lively, crisp and well-balanced. \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Dvořák, although a more successful recording to begin with, saw similar criticisms upon its release, and here we find similar improvements in top end clarity and lower-mid warmth - especially in the solo cello - as well as overall balance perception.  \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\u003ePIATIGORSKY\u003c\/b\u003e plays \u003cb\u003eWalton\u003c\/b\u003e and Dvorák Cello Concertos (1957\/60)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e Cello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegro appassionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Theme and improvisations\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 January 1957, Symphony Hall, Boston\u003cbr\u003eProducer: Richard Mohr, Engineer: Lewis Layton\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on in the UK as Columbia RB16027\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORAK\u003c\/b\u003e Cello Concerto in B minor, Op. 104\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio, ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Finale Allegro moderato — Andante — Allegro vivo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 February 1960, Symphony Hall, Boston\u003cbr\u003eProducer: Max Wilcox, Engineer: John Crawford\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on in the UK as Columbia SB2114\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGregor Piatigorsky\u003c\/b\u003e, c\u003cb\u003eello\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBoston Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Munch\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Piatigorsky\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 72:08\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\/PASC398.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC398.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e1. \"First of all I must say how glad I am that Walton’s ’Cello \nConcerto is at last available on records in this country. I don’t think \nthat it is an entirely successful piece: in the first and second \nmovements he manages to give a convincingly fresh treatment to material \nthat has fascinated him ever since the Viola Concerto of 1928-9, but l \nam more than ever sure that the third movement is broken-backed; it is \nin the form of variations-plus-coda, but the two longish passages for \nthe solo ’cello do not keep the argument going, and there is no \ninevitability about the return of the main theme from the first \nmovement, only a feeling that Walton could not think of anything better.\n Nevertheless it is an accessible work by a distinguished composer, and \nthe British public should not have had to wait so long for a recording \nof it that has been available for some time in America.\u003cbr\u003e\u003cbr\u003eUnfortunately\n I have to modify this welcome straightaway with a complaint about the \nrecording—a complaint that I am getting as tired of making as I am sure \nyou are of reading. Piatigorsky is throughout made to sound as close to \nus as he would be to the conductor in the concert-hall, and the result \nis a completely unnatural balance between soloist and orchestra. It is \nnot that we don’t want to hear the details of Piatigorsky’s magnificent \nplaying; they are well worth listening to, and I am sure that \nprofessional ’cellists will be torn between envy and admiration at the \nmasterly way he deals with the technical difficulties Walton has \nprovided for him. But neither this concerto nor Schelomo on the other \nside is a mere display piece. To over-emphasise the soloist’s \ncontribution in this way ruins the continuity of the musical argument, \nand I am driven to the conclusion that whoever agreed to this \nmicrophone-balance had no real understanding of the music.\u003cbr\u003e\u003cbr\u003eAgainst\n these mechanical faults (and one or two others, such as obvious \ntape-joins and changes of level) must be set the quality of the \nperformance, and as I have already suggested, Piatigorsky is almost \nbeyond praise. It was he who commissioned this concerto in the first \nplace, and he gives the impression of loving every note of it. The \norchestral playing is also technically as good as one would expect, and \nif there is a certain lack of sensuous warmth about it this may well be \nthe fault of the recording. Schelomo demands the very greatest intensity\n from the strings at climaxes, and that is certainly what we get here. \nAll in all, then, this is a record that is well worth having for the \nsake of the music and the performance, but one that could have been much\n more pleasing to listen to.\"\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cem\u003e\u003cstrong\u003eJ.N., The Gramophone\u003c\/strong\u003e\u003cbr\u003eSeptember 1959\u003cbr\u003e\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2. \"My second Boston disc features the distinguished Russian \ncellist Gregor Piatigorsky as soloist in a first recording of a work \nwritten for, and dedicated to, him—Walton’s Cello Concerto. It was \nrecorded on January 28th, 1957, three days after the first performance, \nand has all the freshness of inspiration that characterizes premiere \nrecordings. Both Munch and Piatigorsky seem tuned to Walton's \nbitter-sweet lyricism and the Boston strings in particular play most \nbeautifully, especially in the third movement, an ‘improvisational’ set \nof variations (which last as long as the first two movements put \ntogether) with a haunting epilogue. The sound is remarkably good and \nmuch better than on the LP.\u003cbr\u003e\u003cbr\u003eThe coupled Dvořák Concerto, which \nestablishes a very close rapport indeed between conductor and soloist, \nis less well balanced. Here, the microphones are rather too close to the\n cello, revealing that the soloist’s intonation is not always quite \nimmaculate. That said, the whole performance has an introspective poetic\n feeling, of music being born on the wing as it is played, which is not \nto imply any lack of ardour. The orchestral sound is vivid and, again, \nthe remastering is impressive.\"\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"bodymid\"\u003e\u003cem\u003e\u003cem\u003e\u003cstrong\u003eI.M., Gramophone\u003c\/strong\u003e\u003cbr\u003eApril 1993\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34279453389,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34279453517,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34279453645,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC398.jpg?v=1489768531"},{"product_id":"pasc398-cd","title":"PIATIGORSKY plays Walton and Dvorák Cello Concertos (1957\/60) - PASC398 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478185165,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC398_c1087dbc-6618-43a5-ad73-cee0cc011a91.jpg?v=1658309635"},{"product_id":"pasc286","title":"WALTON conducts his Troilus \u0026 Cressida, Partita for Orchestra (1955\/59) - PASC286","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eScenes from \"Troilus and Cressida\" (Ambient Stereo)\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003ePartita for Orchestra (stereo)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1955 and 1959\u003cbr\u003eTotal duration: 69:37\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eMonica Sinclair\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eRichard Lewis\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eSir William Walton\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGiven the 1945 success of Britten’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePeter Grimes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the BBC commissioned William Walton to write an opera two years later. \nAfter various delays, it took Walton six years to compose the opera and \nhe didn’t deliver the score until 1954. In addition to Walton’s \nmeticulousness, contact with the librettist, Christopher Hassell, was \nvia mail between England and the island of Ischia, off the Italian \ncoast, where Walton resided, which did much to slow down the creative \nprocess. Eventually, it was decided that an opera on the scale that \nWalton was writing was more appropriately presented by Covent Garden, \nrather than the BBC. There were further troubles, which are covered in \nan article by Len Mullenger, “The Unfortunate Opera,” which can be found\n on the Internet. Among those problems was the failing eyesight of the \nconductor, Sir Malcolm Sargent, whose vanity would not permit him to \nwear glasses. As a result, he had difficulty deciphering the rehearsal \nscore, occasionally leaving the singers to their own devices. Walton had\n hoped to have Elisabeth Schwarzkopf sing the role of Cressida but she \nbegged off and was replaced by Magda Laszlo, who had to sing the role in\n phonetic English.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAlthough the reviews were not generally hostile, the eventual judgment on \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTroilus and Cressida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was that it was apparently too advanced for the public and too \nconservative for the critics. After listening to the complete recordings\n of Lawrence Foster and Richard Hickox, my judgment is that the problem,\n as in many operas by Richard Strauss, lies in the excess verbiage of \nthe libretto. In 1955 and again in 1963, Walton shortened the opera. \nAfter Christopher Hassell’s death, he lopped off some more music. He \nalso lowered the part of Cressida a bit when Janet Baker agreed to sing \nit.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLukewarm public reaction is probably the reason \nthat EMI did not record the entire opera back in 1955 but, instead, \nissued a highlights LP with Richard Lewis (the original Troilus) and \nElisabeth Schwarzkopf, who condescended to record excerpts. If she was \nworried about her English pronunciation, the recording suggests that her\n worries were unnecessary. Having heard Lewis drowned out by the Chicago\n Symphony Orchestra in a performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I wonder about his suitability for the part of Troilus; his voice \nstrikes me as on the light side for so richly scored an opera. Richard \nCassilly, of the Foster recording, seems like a better fit (he also sang\n the American premiere, with Dorothy Kirsten as Cressida). Given the \nabsence of EMI’s CD issue of that LP, it’s good to have a souvenir of \nthe original production. Fans of the opera can hear the original longer \nversion of Cressida’s “How Can I Sleep,” which was a casualty of \nWalton’s later editing. No doubt Andrew Rose, the producer of the \nPristine CD, would have liked to include another brief excerpt, “Is \nAnyone There?” which was not on the original LP because it was recorded \nlater and included on the EMI CD. It’s still under rights, so it had to \nbe omitted. I might mention that Christopher Palmer arranged an \norchestral suite from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTroilus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which shares a Chandos CD with Walton’s Second Symphony. If you like \njuicily orchestrated, decadent late Romanticism, it’s for you (I love \nit).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWalton wrote his Partita as a showpiece for the \nCleveland Orchestra’s 50th anniversary and it has probably proved to be \nshowpiece for everyone who has recorded it, including George Szell, who \nled the premiere. His brilliant, if humorless, Cleveland Orchestra \nrecording is unavailable, but there is one with the Concertgebouw \nOrchestra that I have not heard. I have also not heard Walton’s New \nZealand recording of the Partita. This one, with the Philharmonia \nOrchestra, is more moderately paced than Szell’s, but I prefer those of \nBryden Thomson and Paul Daniel (my favorite), which have more wit and \nswing to them without sacrificing the piece’s flashiness. Does \nPristine’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTroilus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and Partita CD sound better or worse than the EMI reissues of these \nperformances, which I had at hand for comparisons? I really can’t tell. \nPerhaps if I had thousand-dollar speakers and 21-year-old ears, I’d have\n a definite opinion. I doubt that the difference, if any, is worth \nworrying about. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:3 (Jan\/Feb 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC286.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these recordings benefitted from the development of true high fidelity equipment during the 1950s and are good examples of what could be achieved at the time. It is unfortunate that the earlier recording, Scenes from Troilus and Cressida, was made only in mono, but the Ambient Stereo version of our remastering does at least add some air and space around the performers. In both cases I have been able, in XR remastering, to reduce background noise whilst lifting the veil which hung over the upper treble. In the case of Troilus and Cressida the slightly cramped and restricted lower frequencies have also been greatly improved. \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\u003eWALTON\u003c\/b\u003e conducts his Troilus \u0026amp; Cressida, Partita for Orchestra (1955\/59)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eScenes from \"Troilus and Cressida\"\u003ci\u003e(Ambient Stereo)\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIs Cressida a slave\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSlowly it all comes back\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHow can I sleep\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIf one last doubt remains\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNow close your arms\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAll's well\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDiomede! Father!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 April - 20 May, 1955, Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Columbia 33CX1313\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e Partita for Orchestra \u003ci\u003e(stereo)\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Toccata Brioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Pastorale siciliana Andante comodo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Giga burlesca Allegro gioviale\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 \u0026amp; 16 February, 1959\u003cbr\u003eKingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Columbia 33CX1679\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTroilus\u003c\/b\u003e \u003cb\u003eRichard Lewis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCressida\u003c\/b\u003e \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEvadne\u003c\/b\u003e \u003cb\u003eMonica Sinclair\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWatchman\u003c\/b\u003e Geoffrey Walls\u003cbr\u003e\u003cb\u003eWatchman\u003c\/b\u003e John Hauxvell\u003cbr\u003e\u003cb\u003eWatchman\u003c\/b\u003e Lewis Thomas\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir William Walton\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Sir William Walton\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 69:37\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e©2011 Pristine Audio.\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\/PASC286.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC286.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\"...Walton wrote the part of Cressida for \nElizabeth Schwarzkopf, who did indeed record extracts from it in 1955. \nWhen asked to open with the opera she demurred pleading another \nengagement, although Neil Tierney, in his biography of Walton, quotes \nWalter Legge as saying that she disliked singing in English and neither \nliked the story nor the character of Cressida. Covent Garden suggested \nthe Hungarian soprano, Magda Laszio; Walton agreed that she had the \nlooks but she could not speak any English. She was expected to learn the\n part parrot-fashion and to sing without a trace of a foreign accent. If\n you listen to the Schwarzkopf recording you can hear how impossible \nthat was going to be. In the event, her English was so poor that she had\n to be coached by Susana Walton, who was herself Argentinian! Opposite \nher Peter Pears played Pandarus. The producer was George Devine and the \ndesigner Hugh Casson. It became known that the opera was to be a \nsumptuous affair, very romantic in style and destined to become very \npopular.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eSargent proved a problem. He was a rather vain \nand self-opinionated conductor. He had not conducted an opera at Covent \nGarden since 1936 - nor anywhere else except for Gilbert and Sullivan. \nThe singers complained that he often left them without support when they\n were unaccompanied to which he responded that since there was no \norchestral part it was not necessary for him to conduct. He constantly \nquestioned Walton's scoring, which did not endear him to the composer \nand a further difficulty was that Sargent's eyesight was failing but he \nwas too vain to wear spectacles when conducting. Since the score had \nstill not been printed Sargent was working from the rehearsal score \nwhich was rather indistinct in parts. He seemed uncertain of the score \nand even during performance he counted the bars out loud, which was very\n off-putting for the performers. On one occasion he brought Geraint \nEvans in a bar too early with an enormous flourish., Evans decided to \nignore this and came in at the proper time. Evans notes in his biography\n that Walton often had to be called into rehearsals to help and he \nbecame increasingly disenchanted. (Unbelievably, Sargent was still the \nconductor at the Covent Garden revival in 1963 even though Walton \npleaded with David Webster to find somebody else. Christopher Hassel, \nthe librettist, died from a heart attack whilst running for a train to \nattend one of the revived performances.)...\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eFrom \"This unfortunate opera\" by Len Mullenger\u003c\/strong\u003e - \u003ca href=\"http:\/\/www.musicweb-international.com\/troil1.htm\" target=\"_blank\"\u003ehttp:\/\/www.musicweb-international.com\/troil1.htm\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34586920141,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34586920205,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":47880456634702,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC286.jpg?v=1711987782"},{"product_id":"pasc286-cd","title":"WALTON conducts his Troilus \u0026 Cressida, Partita for Orchestra (1955\/59) - PASC286 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478253325,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC286_02b7708e-93c4-4066-ad02-b44d908215d7.jpg?v=1711987812"},{"product_id":"pasc291","title":"WALTON Façade, Portsmouth Point, Siesta, Scapino, The Wise Virgins (1954) - PASC291","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eFaçade\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003ePortsmouth Point\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eSiesta\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eScapino\u003cbr\u003e\u003cb\u003eBACH\/WALTON\u003c\/b\u003e The Wise Virgins - Ballet Suite\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1954\u003cbr\u003eTotal duration: 76:42\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDame Edith Sitwell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEnglish Opera Company Ensemble\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnthony Collins\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEdith Sitwell began publishing the poems that make up the collection that was eventually called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaçade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n shortly after World War I. For a while, William Walton was sharing a \nhouse with the Sitwell family and someone thought of adding music to \nsome of the poems. The eventual result was that 21 of Sitwell’s poems \nended up with musical accompaniments by Walton. After Sitwell’s death, \nWalton produced accompaniments to several of the poems that had been \ndropped between the 1922 private performance and the publication of the \ndefinitive score in 1951. This particular recording, like other \n“complete” ones, consists of the 21 poems that made the cut, so to \nspeak. It was previously issued on CD a few years ago on the Alto label \nin very good transfers. The Eloquence reissue is of comparable quality \nand, because it is authorized by Decca, includes Sitwell’s original \nannotations for the 1954 LP. What it does not have are the texts of the \npoems, which were also provided with the original LP. Let me point out \nthat you don’t really have to understand the words in order to enjoy the\n piece. The meaning of the poems is much less important than the sheer \nsound of the words; Sitwell treats the narrators as extra \ninstrumentalists. Perhaps people who acquire this release will already \nown a recording that includes the texts. The narration is sometimes \nperformed by a single speaker, but the first (incomplete) recording, \nwhich was conducted by Walton in 1929, used two speakers, Constant \nLambert and Sitwell herself (she read four of the poems). I admire this \n1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaçade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e a \ngreat deal (Peter Pears does a virtuoso turn rattling off some of \nSitwell’s nonsense), but my all-time favorite recording featured \nHermione Gingold and Russell Oberlin with Thomas Dunn conducting. I \nsuppose everything comes out again sooner or later, so I have hopes that\n it will finally make it to CD.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere’s yet another excellent transfer of the \nCollins recording that you would not go wrong with. The three shorter \npieces had been previously released in an excellent Decca Eloquence CD \ncollection with works by Bax and Bliss. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScapino \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was written for the 50th anniversary of the Chicago Symphony Orchestra \nand recorded shortly after the premiere with Frederick Stock conducting.\n In the event that you know the piece and manage to ever hear the \npioneering Stock recording, you will notice some unfamiliar passages. \nSure enough, Walton, as was his custom, continued to fuss over the music\n after it had been published. All the subsequent recordings use the \nrevised edition, and Boult’s, single channel or not, is as good as any \nof them. The same can be said of his recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiesta\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the bustling \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePortsmouth Point \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture, which occupied the same LP as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScapino \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePortsmouth Point \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was considered sufficiently tricky that, in 1932, Constant Lambert made\n an arrangement (presumably authorized) for reduced orchestra and \nsimplified the multiple time signatures “which, in the original version,\n afforded a certain source of vexation to both orchestra and conductor,”\n as Lambert put it. If you’re curious, Bryden Thomson’s recording of \nLambert’s edition is on Chandos 9148. In a previous issue, I expressed \nmy disappointment that Decca Eloquence had not included the three \npieces’ LP discmate, Boult’s stately but sufficiently spirited recording\n of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Wise Virgins \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eballet\n suite, all that survives from a Bach-derived score Walton wrote in 1940\n for the Sadler’s Wells Ballet. Good for Pristine for returning it to \ncirculation. I learned the piece on Walton’s 78s, which I thought \nsuffered from what seemed to be an attempt to squeeze the piece onto \nfour sides. Boult’s isn’t the only good one, and those who must have two\n channels have an excellent EMI alternative by Robert Irving. This would\n be my narrow choice over the Alto and Eloquence reissues, largely \nbecause of the inclusion of Boult’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Wise Virgins. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:3 (Jan\/Feb 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC291.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe 1954 Decca recording of Walton's Façade is perhaps the closest thing we have to an authentic performance, not least thanks to the recitals from the author of the poems, Dame Edith Sitwell. Although Walton, an eternal fiddler and reviser of his works, was later to add further to his Façade numbers, the version here is the definitive version published with Sitwell in 1951, and unaltered until after her death.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIf Decca's recording sounds just a little dim and dusty some 57 years later, this was easily lifted by an XR remastering which brings a new clarity and directness to these performances - they really burst into life!\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Boult recordings here are among the finest I've heard from the mono era - full-bodied, rich and deep (and I'm in danger here of describing a bottle of fine wine!), they're also bursting with vivacity and possess a fabulously clear top end. Pristine's 32-bit XR remastering has worked here on further definition of the fine inner detail, while leaving the overall impact of the original largely intact and unchanged.\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\u003eWALTON\u003c\/b\u003e Façade, Portsmouth Point, Siesta, Scapino, The Wise Virgins (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eFaçade - \u003ci\u003eAn Entertainment\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFanfare\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Hornpipe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. En famille\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Mariner man\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Long steel grass\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Through gilded trellises\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Tango-Pasodoble\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Lullaby for Jumbo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Black Mrs. Behemoth\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Tarantella\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. A man from a far countree\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. By the lake\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Country dance\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e13. Polka\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e14. Four in the morning\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e15. Something lies beyond the scene\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e16. Valse\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e17. Jodelling song\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e18. Scotch Rhapsody\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e19. Popular song\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e20. Fox-trot 'Old Sir Faulk'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e21. Sir Beelzebub\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003ePortsmouth Point - \u003ci\u003eAn Overture\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWalton: Portsmouth Point — An Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eSiesta\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWalton: Siesta\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eScapino - \u003ci\u003eA Comedy Overture\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWalton: Scapino — A Comedy Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTracks 23–25:\u003c\/b\u003e\u003cbr\u003eRecorded 19 October, 1954\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\/WALTON \u003c\/b\u003eThe Wise Virgins - \u003ci\u003eBallet Suite\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. What God hath done is rightly done\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Lord, hear my longing\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. See what His love can do\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Ah! how ephemeral\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Sheep may safely graze\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Praise be to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 October, 1954\u003cbr\u003eProducer: James Walker\u003cbr\u003eEngineer: Kenneth Wilkinson\u003cbr\u003eKingsway Hall, London\u003cbr\u003eTransfers from Decca LXT5028\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer: Peter Andry\u003cbr\u003eRecorded 7\/8 July \u0026amp; 10\/11 August, 1954, West Hampstead Studios, London\u003cbr\u003eTransfer from Decca LXT2977\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDame Edith Sitwell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEnglish Opera Company Ensemble\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnthony Collins\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2011\u003cbr\u003eCover artwork based on a photograph of Edith Sitwell\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 76:42\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\/PASC291.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC291.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\"It was time for a new edition of what is now \nseen by all (\"even by the firemen\" as Dame Edith would say) as much more\n than a highbrow jape. Façade, popularised by the ballet made from the \nmusic, is now accepted and has weathered the indifference which usually \nsits on once ultramodern manifestations for a space after they have \npassed into history. The truth is the music and the poetic experiment in\n the use of melodrama (in the strict sense of the word) are both of \nlasting value, quite apart from the nostalgic smiles they will bring to \nthe now greying Bright Young Things of the twenties, and also the \namazement which the voices of these two intensely English narrators will\n occasion in the ladies' clubs of Maryland and the cultural unions of \nNew South Wales. For that alone, for these examples of poetic diction by\n Dr. Sitwell and Mr. Pears, of whom the lightest criticism would be \nlèse-majesté, but who happily for the reviewer earn no rebuke, this \nissue is to be prized. \u003cbr\u003e\u003cbr\u003eThe other reason why a new edition is \nwelcome is that with modern full frequency recording it is at last \npossible really to balance the music and the voices so that the words \nget through clearly and one does in fact listen to sound and sense in \nboth departments simultaneously. There were still a few places where I \nwould have liked to have by me the pamphlet of words priced at 9d. and \nobtainable from the Decca Company, but generally the texture is \nbeautifully clear. \u003cbr\u003e\u003cbr\u003eAs in the older version, the author shares \nthe narration: here it is Mr. Pears instead of the late Constant Lambert\n ; where the latter was inclined to shout, the former is inclined to \nsound nasal, even \"coldified\". Dame Edith's interpretation of her own It\n paterns \" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e[\u003cem\u003esic. - from Gramophone's scans\u003c\/em\u003e]\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e of\n poetry which on the record's sleeve she compares with the \ntranscendental studies in pianism by Liszt remains unique. No \ndisappointment in any respect.\"\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cb\u003eP. H.-W. The Gramophone, Nov. 1954\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34591370381,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34591370445,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34591370509,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34591370637,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC291_3a7928e9-9619-4bc3-b907-f6ebfd8a5e52.jpg?v=1490190023"},{"product_id":"pasc291-cd","title":"WALTON Façade, Portsmouth Point, Siesta, Scapino, The Wise Virgins (1954) - PASC291 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478256141,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC291_dbf574f1-2de0-4cd8-8a5b-0c2879ab1fff.jpg?v=1658247102"},{"product_id":"pasc133","title":"STOKOWSKI Schumann: Symphony No. 2, plus Vaughan Williams, Enescu, Walton (1949) - PASC133","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Fantasia on 'Greensleeves'\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eENESCU \u003c\/b\u003eRomanian Rhapsody No. 1\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eSpitfire Prelude and Fugue\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1949\u003cbr\u003eTotal duration: 55:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC133.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese recordings were sent to Pristine by Edward Johnson, one of the guiding lights of the Stokowski Society, musicologist and author of \"\u003cem\u003eStokowski\u003c\/em\u003e - Essays in Analysis of His Art\", taken from recordings held in his private collection, none of which have previously been issued.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn his letter to me, Johnson stated: \"\u003cem\u003e...the Walton is on this CD purely because it's Stokowski's only extant performance of any of Walton's music. But sonically it is dreadful and not release material. I only put it there for your interest...\u003c\/em\u003e\". Whether or not he intended this to be a subtle challenge I don't know, but I don't really think so. However, given the historic importance of the recording (Stokowski is known to have conducted very occasionally other works by Walton in the concert hall, but no recordings of these are thought to exist), I decided to take it on and see what could be achieved.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter making initial inroads on the sound, I sent a work-in-progress sample to Edward for his comments: \"\u003cem\u003eWow ... That's pretty amazing ! ... Like I said, it was recorded onto a primitive glass acetate disc, off the air, by someone called Charles (\"Jack\") Baumgarten who was later to become Stokowski's assistant during the Maestro's last years. This came from a tape copy he gave me. I guess he started the recording after the announcements had finished and and stopped it as soon as the applause began ... it's great that you can work on it as I'd never have thought it would be issuable material! ... The violin solo was most probably John Corigliano, who was I think concert-master at the time...\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAfter much further work I reached the point where I felt I'd done as much for it as possible - numerous bumps, holes, thumps and other extraneous noises were fixed, the sound further refined and evened out, and I was happy to add the recording to this collection. There remains a small degree of distortion towards the end of the piece, and some low-level surface crackle proved impervious to processing, but otherwise it's a fine example of a very spirited performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOf the other recordings, the Vaughan Williams was a fine studio effort - its US debut recording no less. The piece was too long for 78rpm playback and so three further takes were attempted of a version shortened by the conductor by excising sections of the music, the final take running to 4'04\" and given the matrix number XCO41010-1 for release. This first-take full-length recording was left in the vaults and only recently rediscovered.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Schumann that forms the heart of this set is, according to Edward Johnson \"\u003cem\u003ea much better performance than the one he recorded for RCA the following year with \"his Symphony Orchestra\" and the sound, while very good, could be made even better...\u003c\/em\u003e\". The sound quality of the Enescu was pretty much the same - both came from later rebroadcasts - and I'm glad to report Edward's response to my remastering efforts just prior to our release: \"\u003cem\u003eI downloaded the MP3 file and it sounds wonderful!\u003c\/em\u003e\"\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e \u003cb\u003eSchumann\u003c\/b\u003e: Symphony No. 2, plus \u003cb\u003eVaughan Williams\u003c\/b\u003e, \u003cb\u003eEnescu\u003c\/b\u003e, \u003cb\u003eWalton\u003c\/b\u003e (1949)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e: Fantasia on 'Greensleeves'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVAUGHAN WILLIAMS — Fantasia on 'Greensleeves'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e: Symphony No 2 in C, Op 61\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Sostenuto assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Scherzo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio espressivo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eENESCU\u003c\/b\u003e: Romanian Rhapsody No 1 in A, Op. 11\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eENESCU — Romanian Rhapsody No. 1 in A, Op. 11\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e: Spitfire Prelude and Fugue\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWALTON — Spitfire Prelude and Fugue\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eUnissued full-length studio recording, Columbia Studios 21st February, 1949 - a shortened version was prepared and issued on 78rpm disc from this recording session, the complete piece being too long for a single disc side.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eLive at Carnegie Hall, 6th February 1949, taken from a later radio rebroadcast of the original masters\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eLive at Carnegie Hall, 21st February 1949, taken from a later radio rebroadcast of the original masters\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eLive at Carnegie Hall, 6th February 1949, \"\u003ci\u003eRecorded by Charles \"Jack\" Baumgarten on a primitive glass acetate recording machine direct off the radio at the time of the original transmission\u003c\/i\u003e\"\u003cbr\u003e-\u003cb\u003e the only extant recording of Stokowski conducting Walton\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in New York in 1949\u003cbr\u003eAll previously unissued recordings from the collection of Edward Johnson\u003cbr\u003eRestoration and XR remastering by Andrew Rose, October-November 2008\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 55:26\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\/PASC133.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC133.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":34671441741,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34671441805,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34671441869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34671441933,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC133.jpg?v=1490285605"},{"product_id":"pasc133-cd","title":"STOKOWSKI Schumann: Symphony No. 2, plus Vaughan Williams, Enescu, Walton (1949) - PASC133 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478284749,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC133_c791cdd1-4aea-477b-ae62-9fb0c31878c4.jpg?v=1658241862"},{"product_id":"pasc193","title":"BOULT conducts English Music (1954) - PASC193","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eARNOLD \u003c\/b\u003eEight English Dances\u003cbr\u003e\u003cb\u003eBAX \u003c\/b\u003eTintagel\u003cbr\u003e\u003cb\u003eELGAR \u003c\/b\u003eThree Bavarian Dances; Chansons de Nuit \u0026amp; Matin\u003cbr\u003e\u003cb\u003eHOLST \u003c\/b\u003eThe Perfect Fool, Ballet Suites\u003cbr\u003e\u003cb\u003eBUTTERWORTH \u003c\/b\u003eA Shropshire Lad; The Banks of Green Willow\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eSiesta\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1954\u003cbr\u003eTotal duration: 79:43\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Sir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fShows a fine sense of urgency added to his other gifts of sensitive phrasing, structural mastery, and orchestral balance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese recordings aren’t taken from tape originals \nor metal stamps, but from items in a private collection. As such, they \nreveal the wear and distortion often associated with mildly worn copies \nof analog recordings, as well as the tubby, poorly defined bass and dry,\n x-ray treble that were features of some Decca 1950s releases. Add to \nthat the fact that these selections were engineered in mono instead of \nthe mellow stereo EMI and Lyrita provided for the conductor’s later \nre-recordings, and the question naturally arises: why bother with these \nefforts, at all?  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere are a couple of good reasons, in my opinion.\n For one, not all of Decca’s mono studio efforts were sonically \nproblematic. The bass is strong and well defined in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Perfect Fool \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehere,\n with good lower strings, brass, and percussion. The upper strings and \nwinds, too, possess a slight but attractive sheen that is a world away \nfrom the heavy reverb of many modern CDs, where it is employed as a \nremedy for personal defects of tone. The overall sound of this group of \nitems is actually better than what I consider Decca’s average for the \ntime, as period re-releases confirm and my own LP collection \nseconds—though the caveat remains regarding some distortion from worn \ncopies.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMore important, Boult’s recordings made during the\n 1950s continued to show a fine sense of urgency added to his other \ngifts of sensitive phrasing, structural mastery, and orchestral balance.\n Those made in the late 1960s and early 1970s have sometimes been \nfaulted for lacking that same urgency, with comparisons between the \nconductor’s two cycles of Vaughan Williams’s symphonies held up as \nexamples. Without wishing to indulge here in lengthy comparisons, \nconsider \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Banks of Green Willow\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a work whose premiere Boult gave in 1914 (two years, be it noted, \nbefore Butterworth’s death fighting on the Somme). Certainly there’s \nmuch to be said for the recording made during the 1970s for Lyrita, with\n its warm and spacious ambiance; but the anxious trumpet-like motif \nheard repeatedly on the strings starting around two minutes into the \nwork becomes a sharply faster and more pressing interruption in this \n1954 version, launching in turn a more impassioned climax half a minute \nlater. This makes for a more effective contrast with the final section, \ngiven its \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLark Ascending\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e mood.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI don’t wish to denigrate that later release, once\n again available on Lyrita 245. Its sound is excellent, despite the \nanalog originals, for one thing. For another, it supplies fine \nperformances led by Boult in several short works of Herbert Howells, \nincluding the best performance available of the beautiful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eElegy \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efor\n viola, string quartet, and string orchestra. But Pristine Classical’s \nexamples of a “youthful” Boult, still in his sixties, furnish a \ncorrective to the image provided solely by his late EMI albums. \nRecommended. You can purchase the CD or download it from \nwww.pristineclassical.com. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBarry Brenesal  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:5 (May\/June 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\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC193.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs is made clearer in his biography (see below - abridged on our CD cover), Sir Adrian Boult was inextricably linked with the flowering of English music in the late-19th and early-20th centuries. As a conductor he had not only promoted numerous English compositions, but was personally acquainted with all of the composers represented in this magnificent collection - even the young George Butterworth, a composer tragically lost to us in the trenches of World War One.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAll of these recordings were made by Decca during 1954, and include one of the label's very late (and by then, rare) 78rpm issues - Elgar's \u003cem\u003eChansons de Nuit \u0026amp; Matin\u003c\/em\u003e - which was subsequently issues as a 45rpm single before finally making it onto a long player a year after its original release, on Decca LW5174.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhat struck me, when remastering these recordings, was the quite striking difference in sound quality between the sessions. Despite each sharing not only the same orchestra, conductor and venue, but also the same producer (James Walker) and engineer (Kenneth Wilkinson), the tonal balances between the sessions were often quite different. I took the decision, therefore, to utilise the XR remastering system in a slightly different manner to my usual approach.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHaving established, first of all, that the tonal balance acheived in the sessions of 1-2 November 1954 coincided most closely with what one might expect from an optimal modern recording, I set about equalising the recordings gleaned from the earlier sessions to more closely match those of the final session. The aim was to produce not only a continuity of excellent sound quality throughout the collection, but also to - I believe - more accurately represent the sound of the orchestra in those earlier recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite his extensive recording career, it's also worth pointing out that this collection includes Boult's only recordings of both the Malcolm Arnold \u003cem\u003eEnglish Dances\u003c\/em\u003e and William Walton's \u003cem\u003eSiesta.\u003c\/em\u003e\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 style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eARNOLD\u003c\/b\u003e Eight English Dances Op.27 \u0026amp; 33\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eAndantino\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eVivace\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eMesto\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eAllegro risoluto\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (1:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eAllegro non troppo\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eCon brio\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (1:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eGrazioso\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eGiubiloso\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally issued in March 1955 as Decca LW5166\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBAX\u003c\/b\u003e Tintagel (13:30)\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally issued in February 1955 as Decca LXT5015\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR\u003c\/b\u003e Three Bavarian Dances, Op. 27\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eThe Dance\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eLullaby\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eThe Marksman\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Kingsway Hall, London, 21 October 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally issued in January 1955 as Decca LW5157\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR\u003c\/b\u003e Chansons de Nuit \u0026amp; Matin, Op. 15\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eChanson de matin\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eChanson de nuit\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Kingsway Hall, London, 18-19 February 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally issued in May 1954 as Decca 78rpm X574\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHOLST\u003c\/b\u003e The Perfect Fool, Ballet Suite Op. 39 (10:46)\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally issued in February 1955 as Decca LXT5015\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBUTTERWORTH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eA Shropshire Lad (8:41)\u003cbr\u003eThe Banks of Green Willow (5:25)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded Kingsway Hall, London, 1-2 November 1954\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eOriginally issued in February 1955 as Decca LXT5015\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e Siesta (4:48)\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Kingsway Hall, London, 20 October 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally issued in January 1955 as Decca LXT5028\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfers from the collection of Edward Johnson\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, September-October 2009\u003cbr\u003eCover artwork based on a photograph of Adrian Boult\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:43\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\/PASC193.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC193.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 Mono 24-bit FLAC","offer_id":14116495654973,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205575885134,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205575917902,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205575950670,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC193_189ef32b-94e8-4971-8fc9-87963c381c3e.jpg?v=1554798438"},{"product_id":"pasc193-cd","title":"BOULT conducts English Music (1954) - PASC193 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205575819598,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC193.jpg?v=1658243409"},{"product_id":"paco138","title":"SARGENT Walton: Troilus and Cressida (1954) - PACO138","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eTroilus and Cressida (original version)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive recording, 1954\u003cbr\u003eTotal duration: 2hr 18:27\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRichard Lewis\u003c\/b\u003e, Troilus\u003cbr\u003e\u003cb\u003eMagda Laszlo\u003c\/b\u003e, Cressida\u003cbr\u003e\u003cb\u003eFrederick Dalberg\u003c\/b\u003e, Calkas\u003cbr\u003e\u003cb\u003eGeraint Evans\u003c\/b\u003e, Antenor\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e, Pandarus\u003cbr\u003e\u003cb\u003eCovent Garden Opera Chorus \u0026amp; Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Malcolm Sargent\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO138.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDrawn from unbroadcast 33rpm acetate disc recordings, this release offers quite reasonable sound quality for a live performance, though some surface noise and a less than totally \"hi-fi\" frequency range puts it at lower than state-of-the-art for the mid-fifties. That said it's significantly better than the AM radio broadcast that has surfaced elsewhere from the same series of performances. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOur dating of 21 December 1954 is based on detective work centred around the use of stand-in Barbara Howitt for Monica Sinclair in the role of Evadne. Click on the tabs here for extensive additional notes and historic information.\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\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRecorded 21 December 1954, Covent Garden, London\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of the death of Troilus (Act 3) from the Covent Garden production\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\u003eTroilus and Cressida\u003c\/b\u003e\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eTroilus and Cressida (original version)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVirgin of Troas\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBack to your hovels\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIs Cressida a slave_\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMorning and evening\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eForgive me Pandarus\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAsk me no more\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMy father! My father!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSlowly it all comes back\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWhy niece in tears\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSweet sir, there's something on your mind\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Introduction to Act II\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDoes talking put you off\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHow can I sleep\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAt the haunted end of the day\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNot so loud! don't be alarmed\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIf one last doubt, one lurking\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNew life, new love!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNow close your eyes\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe Storm\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFrom isle to isle\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWho would go drumming\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMy name is Diomede\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThis thing shall be revoked\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Introduction to Act III\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAll's well!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo answering sign\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCressid, daughter, why so heavy-hearted_\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eYou gods, you deathless gods\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eProud, wondrous Cressida\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTake it, take it\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEvadne! Evande!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTroilus! Dear Cressid, I rejoice\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWhat is this sudden alarm_\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSextet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eShe has brought shame on Argus\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e37.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDiomede! Diomede!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e38.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Conclusion and credits\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:55)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eOpera in three acts\u003cbr\u003eLibretto by \u003cb\u003eChristopher Hassall\u003c\/b\u003e\u003cbr\u003eMusic by \u003cb\u003eWilliam Walton\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eScenery by \u003cb\u003eHugh Casson\u003c\/b\u003e\u003cbr\u003eCostumes by \u003cb\u003eMalcolm Pride\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer: \u003cb\u003eGeorge Devine\u003c\/b\u003e\u003cbr\u003eFirst performance: 3 December 1954\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCovent Garden Opera Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eConductor:\u003cb\u003e Sir Malcolm Sargent\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCalkas, High Priest of Pallas - \u003cb\u003eFrederick Dalberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eAnterior, Captain of Trojan Spears - \u003cb\u003eGeraint Evans\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eThe Voice of the Oracle - \u003cb\u003eBarbara Howitt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTroilus, Prime of Troy - \u003cb\u003eRichard Lewis\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCressida, daughter of Calkas, a widow - \u003cb\u003eMagda Laszlo\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003ePandoras, brother of Calkas - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eEvadne, servant of Cressida - \u003cb\u003eBarbara Howitt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eHoraste, a friend of Pandarus - \u003cb\u003eForbes Robinson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eDiomede, Prince of Argos - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eA Priest -\u003cb\u003eGordon Farrell\u003c\/b\u003e\u003cbr\u003eFirst Soldier -\u003cb\u003eClifford Starr\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSecond Soldier - \u003cb\u003eStanley Cooper\u003c\/b\u003e\u003cbr\u003eLadies in attendance on Cressida - \u003cb\u003eNorah Cannell, Jeanne Bowden, Jacqueline Brown, Lilian Simmons\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\/PACO138.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO138.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eTroilus and Cressida\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Walton's \u003cem\u003eTroilus and Cressida\u003c\/em\u003e,\u003cem\u003e \u003c\/em\u003ewhich reflects the\n    composer’s great love of romantic Italian opera, was the closest to his\n    heart of all his works. It had the longest period of gestation - over seven\nyears - but it was to be beset with problems. The première of Britten’s    \u003cem\u003ePeter Grimes\u003c\/em\u003e at Sadler’s Wells in June 1945 had revitalised hopes\n    for British opera. Walton felt keenly the rivalry of fellow composers and\n    John Ireland wrote to a friend: ‘Walton was there, with Lady Wimborne. He\n    must have felt rather a draught, I fancy!’ The spur had come from the BBC,\n    its Director of Music writing informally to Walton on 8 February 1947: 'The\n    BBC has decided to commission an opera and would like you to compose it. I\n    do not at all know how you are placed as regards time, but I very much hope\n    that you will be interested in the idea.' The fee was fixed at £500 - with\n    £175 for the libretto.\n\u003c\/p\u003e\n\u003cp\u003e\n    Walton’s librettist was the actor, poet, playwright and lyricist\n    Christopher Hassall whose name had possibly been put forward by the BBC.\n    Alice Wimborne, whom Walton ‘loved very dearly’, had been the muse behind\n    his violin concerto. She was ‘very intelligent, very kind and very musical\n    . . . and very good at making me work’. She knew and admired Hassall, best\n    known for his lyrics for the songs of six of Ivor Novello's musical plays,\n    from \u003cem\u003eGlamorous Night\u003c\/em\u003e (1935) to \u003cem\u003eKing's Rhapsody\u003c\/em\u003e (1949).\n    (Hassall was later to work with Sir Arthur Bliss and Sir Malcolm Arnold.\n    His association with Novello has caused some commentators to be perhaps\n    unfairly critical of his libretto for Walton.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Alice was closely involved in the early stages of the opera commission,\n    helping in the search for a suitable subject. Her critical perception and\n    understanding of Walton had made her an admirable companion, and on 15 June\n    1947 she had written to Hassall who, after a number of proposals, had come\n    up with \u003cem\u003eTroilus and Cressida\u003c\/em\u003e: 'The difficulty is to find the\n    perfect subject. Many that would suit his music have other drawbacks, as a\n    case in point, Byron. For apart from suitability for him the story or plot\n    must be so easy and clear and flowing and scenic. Troilus and C. has got\n    that.'\n\u003c\/p\u003e\n\u003cp\u003e\n    Throughout 1947 and into 1948 the synopsis was slowly thrashed out. But\n    there were delays when Alice contracted cancer for which treatment was\n    sought in a Swiss clinic. Despite her increasingly serious illness Alice's\n    sympathetic hand was there in support of what she referred to Hassall as\n    'our child' right up to her death in April 1948. Walton was utterly\n    devastated. An attack of jaundice put him in hospital, after which he\n    recuperated on the island of Capri. Later that year on a trip to Argentina\n    to attend an international conference of the Performing Rights Society, he\n    met his future wife Susana Gil Passo and their whirlwind marriage took\n    place in Buenos Aires in December. They arrived in England in February 1949\n    and by November they were settled in Ischia, living initially in a building\n    that was too uncomfortable to be any more than a temporary residence before\n    moving to another, a derelict building that they rebuilt and made habitable\nas their home for eight years. (The land for their final home,    \u003cem\u003eLa Mortella\u003c\/em\u003e, was purchased in 1956.) It was against the background\nof these living conditions that Walton took up again the threads of    \u003cem\u003eTroilus and Cressida\u003c\/em\u003e. Travel, personal tragedy, marriage and the\n    move to Italy had caused a serious disruption to the schedule. As a\n    librettist Hassall was not at first conversant with the style, rhythm and\n    wording of grand opera, but Walton suggested he looked at the libretti of\n    operas like Verdi’s \u003cem\u003eRigoletto\u003c\/em\u003e and \u003cem\u003eUn ballo in maschera\u003c\/em\u003e\n    and study verses of varying lengths and the use of appropriate words. He\n    offered \u003cem\u003eOtello\u003c\/em\u003e and \u003cem\u003eAida\u003c\/em\u003e as models for the timings of the\n    acts, and even suggested that Cressida’s ‘At the haunted end of the day’ in\n    Act II should correspond in length to the aria ‘Celeste Aida’.\n\u003c\/p\u003e\n\u003cp\u003e\n    Living several months of each year in Ischia did not make working with his\n    librettist at all easy. Much of it was done by correspondence because of\n    the lack of a telephone in his Italian home, and contact by post was slow\n    and laborious. Hassall described their working method:\n\u003c\/p\u003e\n\u003cp\u003e\n    We naturally worked in close collaboration, either by a stream of letters\n    between London and Italy, or together at Sir William's home in Ischia. . .\n    [He] copied out the initial synopsis so as to examine it the more closely\n    and check on every detail. I then redrafted it and broke it up into\n    numbered sections, and began the actual text on the same pattern, numbers\n    being necessary for easy reference since the work continued by\n    correspondence once the composition of the music began. I kept a pile of\n    envelopes ready stamped and addressed for prompt reply, and our rather\n    extraordinary correspondence over a long period would fill, I should\n    imagine, several volumes. The exact motive or mood at any point was\n    discussed, also the stanza - shape and style of the utterance, for the\n    libretto ranged from measured rhyme to free verse (for instance, the\n    passage in hexameter rhythm in Act 1 was not my idea, but was a 'special\n    request'.) Such requests make a task of this kind all the more stimulating.\n\u003c\/p\u003e\n\u003cp\u003e\n    There were advantages in this partnership. They got on remarkably well.\n    Changes could be carefully considered over a period of time. Each was\n    sensitive to the other’s ideas, Walton being particularly good at coming up\n    with suggestions for dramatic improvements and Hassall keen to respond. In\n    April 1948 the BBC issued a statement to the effect that it had\n    commissioned Walton to write an opera, and that the libretto had been\n    ‘written by Christopher Hassall in active collaboration with Dr Walton on\n    the theme of \u003cem\u003eTroilus and Cressida\u003c\/em\u003e, but not using Shakespeare's\n    words or following his play. It is 3 acts.' But this was far from the\n    truth. Ten months later little progress had been made with the libretto,\n    and in February 1949 Stanford Robinson, Opera Director at the BBC, wrote to\n    Walton: 'Warmest congratulations to you on your marriage. . . Will this new\n    happiness have the effect of making you finish your opera quick or slower?\n    . . . So far as I can judge you have not actually got down any Act in\n    anything like a final form.'\n\u003c\/p\u003e\n\u003cp\u003e\n    On 28 March 1949 Walton wrote to Stanford Robinson: 'The opera position is\n    perhaps a little brighter. At last Christopher \u0026amp; I . . . have really\n    got the libretto into shape so it only now needs the music. The idea at the\n    moment is to get it ready for the 1951 [Festival of Britain] Exhibition.'\n    But by 4 February 1950 it seems that problems with the libretto were still\n    not entirely solved: ‘[It] bristles with difficulties especially libretto\n    ones,’ he wrote to Steuart Wilson, head of the BBC Music Department.\n\u003c\/p\u003e\n\u003cp\u003e\n    Wilson replied: ‘I would like to know whether you think that we could do -\n    or that you would like to do - it as a public performance in the RAH or\n    South Bank as a first 'concert' performance with or without narrator.’ But\n    Walton, who now seemed to be harbouring some doubts about the work,\n    responded on 1 March: ‘On the whole I'm not keen about a concert\n    performance of Troilus during 1951. For one thing I don't think it would\n    stand the cold hard light of a concert performance, \u0026amp; it may, with\n    luck, just get away with it on the stage. Though for me, it has progressed\n    fairly well, I've been fairly stuck for the last fortnight \u0026amp; I shall be\n    pleased if I get it finished in sketch by this time next year. I aim for a\n    Cov[ent] Gar[rden] performance about June '52.’\n\u003c\/p\u003e\n\u003cp\u003e\nThe BBC became increasingly impatient at the non-appearance of    \u003cem\u003eTroilus\u003c\/em\u003e. Nevertheless, it recommended 'that the commission remains\n    in force and that the commission fee is paid in respect of the first\n    performance despite the fact that it would be a stage performance'. The\n    Director-General’s feeling that 'We don't want to negotiate with him' was\n    perhaps forgotten when Walton received a knighthood in the Festival of\n    Britain year honours.\n\u003c\/p\u003e\n\u003cp\u003e\n    The idea for its subject had come to Christopher Hassall after reading a\n    chapter in C. S. Lewis's \u003cem\u003eThe Allegory of Love. \u003c\/em\u003eAnalysing the\n    character of Cressida (or Criseide), Lewis had written that from the 'fear\n    of loneliness, of old age, of death, of love, and of hostility . . .\n    springs the only positive passion which can be permanent in such a nature,\n    the pitiable longing, more childlike than womanly, for protection, for some\n    strong and stable thing that will hide her away and take the burden from\nher shoulder.' Hassall turned to Chaucer's epic poem    \u003cem\u003eTroilus and Criseide \u003c\/em\u003eset amidst the Trojan war, 'with the order of\n    Chaucer's events rearranged, new details introduced, and the whole\n    compressed within much narrower limits of time, until the latter half of\n    Act III where the opera bears no relation to the medieval poem. There is\n    nothing of Shakespeare in the libretto, beyond a similarity of situation\n    here and there inevitable in two works derived from the same source.'\n\u003c\/p\u003e\n\u003cp\u003e\n    At different stages the libretto was looked at by Ernest Newman, Walter\n    Legge, Ernest Irving and, while staying on Ischia, Wystan Auden to whom\n    Walton played through \u003cem\u003eTroilus\u003c\/em\u003e. All made valuable comments and\n    criticisms, and it was Auden who solved the problem of ending Act III by\n    suggesting a quintet. This became the sextet which Newman hailed as a\n    successor to the \u003cem\u003eRosenkavalier\u003c\/em\u003e trio, the \u003cem\u003eMeistersinger\u003c\/em\u003e\n    quintet and the \u003cem\u003eRigoletto\u003c\/em\u003e quartet. ‘I now understand why no-one\n    has attempted an opera with “love” interest since Puccini. Scyllas and\n    Charybdises surround one at every bar. Give me Buddery every time – or even\nplain rape,’ he naughtily wrote to Walter Legge in March 1952. (Britten’s    \u003cem\u003eBilly Budd\u003c\/em\u003e had been premièred at Covent Garden the previous\n    December.)\n\u003c\/p\u003e\n\u003cp\u003e\nThere were interruptions with commissions for the    \u003cem\u003eCoronation Te Deum\u003c\/em\u003e and \u003cem\u003eOrb and Sceptre\u003c\/em\u003e Coronation March,\n    and in August 1953 Walton sailed to the United States for conducting\n    engagements. But for the remainder of that year and all the following one\n    he was occupied with \u003cem\u003eTroilus \u003c\/em\u003ewhich was finished by September 1954.\n    Although dedicated 'To my wife', it must nevertheless have stirred\n    anguished memories of Alice. 'I sweated blood over it - in fact it nearly\n    killed me,' he once remarked in an interview.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct I\u003c\/strong\u003e\n    opens in the citadel of Troy. Calkas, high priest and father of Cressida,\n    is convinced that further resistance to the besieging Greeks is useless and\n    tries to persuade the people that the Oracle of Delphi has advised\n    surrender. Antenor, a young captain and friend of Troilus, accuses Calkas\n    of being in the pay of the Greeks, but Troilus gives assurance of the\n    priest’s good faith. Unconvinced, Antenor sets off on a foray against the\n    enemy. Troilus meets up with Cressida to whom he declares his love - but to\n    no avail. He is overheard by Pandarus, Calkas’s brother, who promises to\n    plead his cause. Pandarus then hears Calkas bidding farewell to Cressida\n    and discovers that his brother is deserting Troy. He tries to console\n    Cressida with the thought of Troilus’s love but he is interrupted by the\n    announcement of Antenor’s capture. Troilus sends a message to his father\n    King Priam saying that if he fails to regain his friend Antenor by force\n    then an exchange of prisoners must be arranged with the Greeks whatever the\n    cost. Pandarus meanwhile invites Cressida to a supper party at his house\n    the following evening and persuades her to give him the scarf she is\n    wearing which he delivers to Troilus, now convinced of Calkas’s treachery,\n    as a token of her affection.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct II\u003c\/strong\u003e\n    takes place at Pandarus’s house the next evening; Cressida and the other\n    guests are playing chess. A storm develops and, as part of his plan,\n    Pandarus sends for Troilus and persuades Cressida not to risk going home in\n    such weather but to stay instead. Her servants prepare her for the night\n    and then, alone, she admits to herself that she has fallen in love again.\n    Pandarus then comes with the news that Troilus is in the house because, as\n    he falsely explains, he is racked with jealousy. Overhearing this, Troilus\n    bursts in disclaiming such nonsense. Pandarus slips away and on his return\n    is delighted to see that his plan is working and the two are reconciled.\n\u003c\/p\u003e\n\u003cp\u003e\n    After a night of passion Troilus and Cressida are disturbed by the sound of\n    an approaching drum. It is Diomede, commander of the Greeks, who has come\n    for an exchange of prisoners. The lovers conceal themselves behind some\n    curtains and Pandarus takes it on himself to conduct the parley. Calkas, it\n    seems, has done the Greeks some good service and will accept no reward\n    other than that his only child be restored to his care, which can be done\n    to meet King Priam’s plea for the return of Antenor whom Troilus failed to\n    snatch back from the Greeks. Diomede produces the seals of Troy and of\n    Greece as proof of the agreement. Searching the room, he sees Cressida and\n    is struck by her beauty. He tells her to prepare for a journey and meet him\n    in the yard. Troilus enters in despair and promises to smuggle messages\n    through the enemy lines, and as a show of his fidelity gives back to\n    Cressida the scarf she gave him the day before.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct III\u003c\/strong\u003e\n    opens in the Greek encampment ten weeks later, during which time Cressida\n    has received no word from Troilus: her servant Evadne has been destroying\n    all his messages under orders from Calkas who now reproaches Cressida for\n    her coldness towards Diomede. Having heard nothing from Troilus she\n    ultimately yields to Diomede’s advances and allows him to take her scarf as\n    a token of her favour. That very night she is to be proclaimed Queen of\n    Argos. However, during an hour of truce Troilus and Pandarus appear and\n    urge Evadne to fetch Cressida whose ransom is being arranged. Seeing\n    Diomede carrying Cressida's scarf, Troilus claims her as his own. Enraged,\n    he attacks Diomede but is stabbed in the back by Calkas. Diomede orders\n    Calkas to return to Troy but declares that Cressida must stay behind as a\n    prisoner. Seizing Troilus's sword, she takes her own life.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    The first performance of \u003cem\u003eTroilus and Cressida\u003c\/em\u003e, which was\n    broadcast, took place at the Royal Opera House on 3 December 1954. Even\n    once the composition had been completed, the opera seemed plagued with\n    problems. There were initial doubts as to who would be designer and\n    director – ultimately Hugh Casson and George Divine, after such names as\n    Henry Moore, Isobel Lambert and Laurence Olivier had been considered. Then\n    there were casting difficulties, and the greatest disappointment was with\n    the role of Cressida which Walton had written with Walter Legge’s wife\n    Elisabeth Schwarzkopf in mind. After problems in fixing dates she\n    eventually declined with varying excuses that her English was not good\n    enough and ‘the text was Ivor Novello-ish and in English’. How\n    magnificently she would have taken on that role can be surmised from the\n    extracts she recorded in 1955 with Walton conducting [Pristine ****]. Her\n    replacement, the Hungarian soprano Magda Laszlò, could speak little English\n    and had to be coached. Contrary to what one might have expected, the rather\n    camp role of Pandarus, with its occasional Brittenesque phrasing and\n    suggestions of falsetto, was not written with Peter Pears in mind though he\n    proved admirable in the part. Parry Jones was the first suggestion (just as\n    Nicolai Gedda had been for Troilus). Perhaps for Pears’s sake the lines:\n    ‘Come, Troilus, confide in me. I have much experience in these things . .\n    What do you know of love?’ were removed soon after the first performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    The first orchestral rehearsal nearly had to be abandoned because the parts\n    were littered with so many inaccuracies that had not been properly checked\n    by the publishers. Sargent, who had little experience in the opera pit,\n    clearly did not know the score well enough and for reasons of vanity would\n    not wear glasses, making reading the manuscript score even more difficult.\n    He also refused to beat when the orchestra was not playing, leaving whole\n    ensembles to fend for themselves without setting a tempo. However, whatever\n    problems there were in rehearsal, the first night was counted a success and\nwhile the work had a mixed reception in the musical journals the    \u003cem\u003eDaily Express\u003c\/em\u003e critic called it 'the proudest hour of British music\n    since the première of Benjamin Britten's \u003cem\u003ePeter Grimes\u003c\/em\u003e nine years\n    ago'.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eTroilus\u003c\/em\u003e\n    had seven Covent Garden performances before going to Glasgow, Edinburgh,\n    Leeds, Manchester and Coventry where the conductor was Reginald Goodall\n    (‘worse than hell’ in Walton’s words), and then returning to London for a\n    further five. The American première, which Walton attended, took place in\n    San Francisco on 7 October 1955 with Richard Lewis and Dorothy Kirsten in\n    the title roles and Erich Leinsdorf conducting, and on 12 January 1956 it\n    opened to a reception of boos, cheers and hisses at La Scala, Milan, with\n    David Poleri and Dorothy Dow, Nino Sanzogno conducting.\n\u003c\/p\u003e\n\u003cp\u003e\n    There were five more Covent Garden performances between December 1955 and\n    February 1956 with Laszlò and Lewis, and \u003cem\u003eTroilus\u003c\/em\u003e did not return to\n    the repertoire until it was revived, with some alterations and cuts, for\n    five performances in 1963, with Marie Collier a magnificent Cressida, André\n    Turp Troilus and John Lanigan Pandarus. Once again Sargent conducted. (It\n    was on the way to catch a train to see this production of \u003cem\u003eTroilus\u003c\/em\u003e\n    that Christopher Hassall collapsed and died.) A few years later Walton,\n    much taken by the singing of Janet Baker, tried to breath fresh life into\n    the opera by revising the part of Cressida to accommodate her mezzo voice -\n    transposing down the vocal line as well as reshaping it, and making further\n    changes and cuts elsewhere. Even this production was dogged with problems,\n    especially when at the last minute André Previn, who was to have conducted,\n    had to withdraw because of bursitis. Lawrence Foster stepped in for the six\n    performances and while the singing and playing did much to redeem the\n    opera, the production was let down by sets that spoke only too clearly of\n    tight budgets. Walton nonetheless seemed delighted: 'It was a very special\n    evening for me because I've been waiting for the last twenty years and more\n    to get this opera vindicated. Of course, Janet Baker to me is so beautiful\n    on the stage, and the way she acts and moves is really wonderful, and her\n    singing is divine: there is no other word for it. And it just made me cry.'\n    Sadly more tears were likely reserved for the failure of \u003cem\u003eTroilus\u003c\/em\u003e\n    to establish itself in the general operatic repertoire. At Covent Garden in\n    1995 Opera North performed a version that restored the role of Cressida to\n    a soprano voice but nonetheless incorporating many of the cuts made in the\n    ‘Janet Baker’ version.\n\u003c\/p\u003e\n\u003cp\u003e\n    In between the first performance and the publication of the vocal score, as\n    was Walton's habit, numerous revisions, deletions and changes were made.\n    Most of these were minor details, here and there a bar or two was cut to\n    tighten continuity, a line or two of dialogue omitted, some adjustments\n    made to the scoring. In the first performance early in Act 1 the spoken\n    female voice of the Oracle was heard a second time (she speaks only once in\n    the VS), but that part was cut completely in the final revision. In the\n    performance issued on these CDs that was recorded by the BBC Transcription\n    Service on 21 December 1954 (and not broadcast) there are some substantial\n    sections that have been cut in the final version (and were also cut in the\n    version for Janet Baker) and therefore no longer heard today. The most\n    significant of these are, in Act I Calkas’s long monologue ‘Launching at\n    dead of night’ right up to and including the voice of the Oracle; in Act II\n    the women’s chorus ‘Put off the serpent girdle’ up to Cressida’s ‘How can I\n    sleep?’; Pandarus’s ‘Jealousy, the carrion crow . .’ up to Troilus’s cry of\n    ‘Enough of this damnable lying!’; and several incisions from Act III,\n    Cressida’s ‘He was challeng’d!’ up to ‘ “My Cressida!” ’, Calkas’s rebuking\n    of Cressida: ‘Prince Diomede honours you’ up to ‘The future is what we make\n    it’, and the dialogue between Diomede and Cressida: ‘Would you make a\n    harlot of your captive?’ until Diomede’s ‘I know some Trojans linger in\n    your thoughts’, and soon afterwards Diomede’s six lines beginning ‘Now she\n    is mine . . .’\n\u003c\/p\u003e\n\u003cp\u003e\n    The inclusion of these cuts, together with the fine singing of Magda\n    Laszlò, Richard Lewis and Peter Pears and (despite his other failings)\n    Sargent’s urgent pacing, makes this recording a document of unusual\n    historic interest.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e\u003cb\u003eStephen Lloyd\u003c\/b\u003e\u003cbr\u003eauthor of \u003cem\u003e\u003ca href=\"https:\/\/www.amazon.co.uk\/William-Walton-Muse-Fire-Music\/dp\/085115803X\/ref=sr_1_1?ie=UTF8\u0026amp;qid=1493906926\u0026amp;sr=8-1\u0026amp;keywords=William+Walton%3A+Muse+of+Fire\" target=\"_blank\"\u003eWilliam Walton: Muse of Fire\u003c\/a\u003e\u003c\/em\u003e (Boydell 2001)\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fFirst Night578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eFrom THE TIMES \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSir William Walton’s opera \u003ci\u003eTroilus and Cressida\u003c\/i\u003e was originally commissioned by the B.B.C. as an opera for broadcasting, but the conception grew in the composer’s mind, which has always worked slowly in each of his symphonic works to make a single decisive utterance in the chosen form, and in the long period of its gestation it has formed itself into a great tragic opera.\u003cbr\u003e\u003cbr\u003eThe Greeks from Homer to Euripides themselves knew that the bitterness of war is revealed only to women, and from the long line of their heroines, Hecuba, Cassandra, and the Argive queens, they made their tragedies. Cressida, a Trojan woman, caught in the storm of the world and the toil of circumstance, is a tragic figure who moves the spectator with tear for the fragility of human happiness and pity for our lot. Walton has satisfied Aristotle’s canons, not only of pity and fear, but of the dignity and magnitude of the issues, and in so doing he has satisfied one of opera’s demands—the creation of a great soprano role. The text which has provided him with his skeleton is Mr. Christopher Hassall’s reading, not of Shakespeare but of Chaucer, from which he has built up for the composer some firmly drawn characters.\u003cbr\u003e\u003cbr\u003ePandarus is both odious, laughable, and recognizably true to type. He serves the operatic function of comic relief. The opera is laid out conventionally as a music-drama with one or two concerted movements like the sextet In the last act. Walton has been content to write the same sort of music as in his other works: there are the terse figures reiterated in the orchestra to work up propulsive power, the darkly shaded melodies from lower strings, the huge climaxes with an edge on them obtained from the ordinary large orchestra. There is no attempt at innovation, formal or harmonic, no deliberate evas\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":36900055437,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205556650318,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205556683086,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO138_7d04136e-368b-4ee0-82ce-f43174d26929.jpg?v=1493907734"},{"product_id":"paco138-cd","title":"SARGENT Walton: Troilus and Cressida (1954) - PACO138 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":55205556617550,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO138_baf43c70-f7ea-4403-a25d-86f7d9b02798.jpg?v=1658496481"},{"product_id":"pasc626","title":"BOULT The NBC Recordings - Beethoven, Busoni, Butterworth, Copland, Elgar, Holst, Vaughan Williams, Walton (1938) - PASC626","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7\u003cbr\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No. 4\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eViola Concerto\u003cbr\u003e\u003cb\u003eELGAR \u003c\/b\u003eEnigma Variations\u003cbr\u003e\u003cb\u003eHOLST \u003c\/b\u003eA Fugal Concerto\u003cbr\u003e\u003cb\u003eCOPLAND \u003c\/b\u003eEl Salón México\u003cbr\u003e\u003cb\u003eBUTTERWORTH \u003c\/b\u003eA Shropshire Lad, Rhapsody\u003cbr\u003e\u003cb\u003eBUSONI \u003c\/b\u003eComedy Overture*\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1938\u003cbr\u003eTotal duration: 2hr 40:41 (CDs: 2hr 34:04)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilliam Primrose\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e*Bonus track supplied with downloads only\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC626.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Arturo Toscanini visited Britain in 1935 to conduct the BBC Symphony\n    Orchestra. The BBCSO, created in 1930, was the only full-time professional\n    orchestra in the country and had naturally attracted the best musicians.\n    Toscanini was impressed: ‘… one of the best orchestras I have ever\n    conducted’ he declared, and would return to conduct the orchestra in 1937,\n    1938 and 1939, as well as making some notable recordings with them [see\n    \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc066\"\u003ePASC 066\u003c\/a\u003e, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc352\"\u003ePASC 352\u003c\/a\u003e]. Adrian Boult, the BBCSO’s 46-year-old conductor, was\n    the man responsible for its excellence so when Toscanini created his own\n    symphony orchestra for NBC in late 1937, Boult was one of the first people\n    he invited as guest conductor.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Boult arrived in New York on Cunard’s MV \u003cem\u003eBritannic\u003c\/em\u003e on 8 May 1938\n    and conducted two Saturday night live broadcasts with the NBCSO on 14 May\n    and 21 May. BBC managers, or perhaps Boult himself, were sufficiently\n    interested in the concerts to order that the NBC shortwave signal be\n    partially recorded in London. Maybe Toscanini, himself in London at the\n    time of the second concert, heard the shortwave transmission. The original\n    discs are in the British Library but with the inevitable sonic problems of\n    shortwave. Fortunately for us, NBC recorded its own set of reference discs\n    direct from the studio, preserving both concerts in excellent sound.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    For reasons for timing the two concerts cannot be presented in performance\n    order in this release. The concert of 14 May featured works by Busoni,\n    Beethoven, Walton and Copland; 21 May was an all-English programme with\n    works by Holst, Vaughan Williams, Butterworth and Elgar. According to the\nNew York Times, this was the US premiere of both Copland’s    \u003cem\u003eEl Salón México\u003c\/em\u003e and Walton’s \u003cem\u003eViola Concerto\u003c\/em\u003e. Fortunately,\n    Scottish-born William Primrose, now one of the viola players in the NBCSO,\n    knew Walton’s viola concerto well, and had even re-written some of the\n    music with Walton’s agreement. The New York Times thought he was the ‘ideal\n    interpreter’ of the music, with ‘a technique that made light of its\n    tremendous difficulty, and a musicianship that clarified many\n    complexities.’ As for Adrian Boult, the concert had shown him to be ‘a\n    master of his craft and an artist of real perception.’\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe centrepiece of the second concert was Vaughan-Williams’    \u003cem\u003eFourth Symphony\u003c\/em\u003e. Although not a US premiere, this nationwide\n    broadcast confirmed it to be, according to the critic of the New York\n    Times, ‘one of the most significant in recent years… the instrumental color\n    is rich and bold, the harmonic flavor has salty freshness and bite’. The\n    other works on this all-English programme were Holst’s ‘pleasantly\nunpretentious’ \u003cem\u003eFugal Concerto\u003c\/em\u003e, Butterworth’s poetic    \u003cem\u003eShropshire Lad\u003c\/em\u003e, and Elgar’s \u003cem\u003eEnigma Variations\u003c\/em\u003e, a piece\n    that Toscanini had conducted in his very first concert with the BBCSO in\n    1935. These were the only times Boult conducted the NBCSO, despite him\n    having a 40-year career ahead of him. His ‘matured and knowing hand’ won\n    him many US admirers and he returned to the US several times to conduct\n    both the New York Philharmonic and the Boston Symphony before concentrating\n    his remaining energy on British audiences. His last public performances\n    took place at the age of eighty-nine in 1978.\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT \u003c\/b\u003eThe NBC Recordings\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eBUTTERWORTH \u003c\/b\u003eA Shropshire Lad, Rhapsody\u003cspan style=\"font-size: 12px;\"\u003e (9:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7 in A, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt. - Poco sostenuto - Vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd mvt. - Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (9:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd mvt. - Presto\u003cspan style=\"font-size: 12px;\"\u003e (8:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (8:51)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eELGAR \u003c\/b\u003eVariations on an Original Theme, 'Enigma', Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Theme (Andante)\u003cspan style=\"font-size: 12px;\"\u003e (1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Variation I. L'istesso tempo 'C.A.E.'\u003cspan style=\"font-size: 12px;\"\u003e (1:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Variation II. Allegro 'H.D.S-P.'\u003cspan style=\"font-size: 12px;\"\u003e (0:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Variation III. Allegretto 'R.B.T.'\u003cspan style=\"font-size: 12px;\"\u003e (1:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Variation IV. Allegro di molto 'W.M.B.'\u003cspan style=\"font-size: 12px;\"\u003e (0:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Variation V. Moderato 'R.P.A.'\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Variation VI. Andantino 'Ysobel'\u003cspan style=\"font-size: 12px;\"\u003e (1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Variation VII. Presto 'Troyte'\u003cspan style=\"font-size: 12px;\"\u003e (0:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Variation VIII. Allegretto 'W.N.'\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Variation IX. Adagio 'Nimrod'\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Variation X. Intermezzo: Allegretto 'Dorabella'\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Variation XI. Allegro di molto 'G.R.S.'\u003cspan style=\"font-size: 12px;\"\u003e (0:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Variation XII. Andante 'B.G.N.'\u003cspan style=\"font-size: 12px;\"\u003e (2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Variation XIII. Romanza: Moderato '* * *'\u003cspan style=\"font-size: 12px;\"\u003e (2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Variation XIV. Finale: Allegro Presto 'E.D.U.'\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHOLST \u003c\/b\u003eA Fugal Concerto, Op. 40, No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st mvt. - Moderato\u003cspan style=\"font-size: 12px;\"\u003e (2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd mvt. - Adagio\u003cspan style=\"font-size: 12px;\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:27)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eViola Concerto*\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 1st mvt. - Andante comodo\u003cspan style=\"font-size: 12px;\"\u003e (7:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 2nd mvt. - Vivo, con molto preciso\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 3rd mvt. - Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (12:11)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilliam Primrose\u003c\/b\u003e, viola\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No. 4 in F minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (8:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 2nd mvt. - Andante moderato\u003cspan style=\"font-size: 12px;\"\u003e (10:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 3rd mvt. - Scherzo: Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (5:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 4th mvt. - Finale con epilogo fugato: Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eCOPLAND\u003c\/b\u003e El Salón México*\u003cspan style=\"font-size: 12px;\"\u003e (10:30)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eDOWNLOADS ONLY\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBUSONI \u003c\/b\u003eComedy Overture (Eine Lustspielouvertüre), Op. 38 (6:36)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003e*U.S. Première performances\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Sir Adrian Boult\u003cbr\u003eBroadcasts of 14 May (\u003ci\u003eBusoni, Beethoven, Walton, Copland\u003c\/i\u003e) \u0026amp; 21 May 1938 (\u003ci\u003eVaughan Williams, Holst, Butterworth, Elgar\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eCD buyers note: Busoni's \u003ci\u003eA Comedy Overture \u003c\/i\u003eis a bonus track included with your free MP3 download.\u003cbr\u003e\u003cb\u003eTotal CD duration: 2hr 34:04\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTotal Download duration: 2hr 40:41\u003c\/b\u003e\u003cbr\u003eCD1: 78:11 CD2: 75:53\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC626.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39254340436029,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205528207694,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205528240462,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC626.jpg?v=1614928505"},{"product_id":"pasc626-cd","title":"BOULT The NBC Recordings - Beethoven, Busoni, Butterworth, Copland, Elgar, Holst, Vaughan Williams, Walton (1938) - PASC626 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC626.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205528174926,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC626_96ebf7bf-5a1e-4629-b599-7ae95d5bc653.jpg?v=1658751304"},{"product_id":"pasc654","title":"GOOSSENS Cincinnati Symphony Orchestra, Vol. 1: Vaughan Williams, Walton, Delius (1941\/46) - PASC654","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e A London Symphony\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eDELIUS \u003c\/b\u003eThe Walk to the Paradise Garden\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1941\/46\u003cbr\u003eTotal duration: 76:18\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJascha Heifetz\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eCincinnati Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eEugene Goossens\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC654.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\n        This first volume in a series which will present the complete\n        recordings of Eugene Goossens and the Cincinnati Symphony Orchestra\n        focuses on Twentieth Century British music, including some rarely-heard\n        editions of scores that were later replaced by revised versions. Among\n        these is the 1920 version of Vaughan Williams’ \u003cem\u003eLondon Symphony\u003c\/em\u003e\n        , in celebration of the 150th anniversary of the composer’s 1872 birth.\n    \n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Goossens was born into a musical family in London in 1893. His Belgian\n    grandfather had been a conductor; his father, a violinist; his mother, an\n    opera singer; and his siblings all noted instrumentalists (oboist Léon,\n    harpists Sidonie and Marie and hornist Adolphe). After studying violin and\n    playing in various London orchestras and chamber ensembles, Goossens became\n    an assistant to Beecham in 1916. By 1921, he had taken up conducting\n    full-time, forming his own orchestra, and making a particular specialty of\n    new music. In the same year, he gave the British concert première of\n    Stravinsky’s \u003cem\u003eThe Rite of Spring\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    At the invitation of George Eastman, Goossens served as music director of\n    the Rochester Philharmonic and taught at the Eastman School of Music from\n    1923 to 1931, splitting his time between the USA and Britain, where he\n    continued to conduct in the concert hall and at Covent Garden. He led the\n    Hollywood Bowl Orchestra frequently during his years in America, and made\n    recordings there in 1928. From 1931 through 1946, he headed the Cincinnati\n    Symphony before moving to Australia to conduct the Sydney Symphony\n    (1947-56) and lead the New South Wales State Conservatorium of Music, where\n    among his students were Joan Sutherland and Richard Bonynge. He was\n    knighted in 1955; but his career suffered from a scandal the following year\n    which caused his return to the UK. He died in 1962.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Cincinnati Symphony had already enjoyed an illustrious history before\n    Goossens’ arrival. Its previous music directors had included Leopold\n    Stokowski (1909-12), violinist-turned-conductor Eugene Ysaÿe (1918-22) and\n    Fritz Reiner (1922-31). Although the ensemble had recorded acoustically\n    under Ernst Kunwald and Ysaÿe in 1917-19, they had not made any discs in\n    over two decades until the February, 1941 sessions that produced the Walton\n    and Vaughan Williams works presented here.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Vaughan Williams’s \u003cem\u003eA London Symphony\u003c\/em\u003e, had been premièred in 1914;\n    but after the Great War, the composer cut it by about a third for a version\n    published in 1920. Further cuts were made for a final 1936 edition that has\n    been the standard performed ever since. However, the 1920 parts were still\n    being circulated in America when Goossens made his recording, and that is\n    what is heard here. Among several passages missing from the later version\n    are about two minutes of music toward the beginning of the Epilogue. Other\n    than the two acoustic sets of the score made by Sir Dan Godfrey (one\n    severely truncated, the other with a large cut in the last movement), it\n    is, to my knowledge, the only complete recording of the 1920 version (and\n    even here, a repeat in the Scherzo is omitted in order to fit it on a\n    single side).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Walton concerto was premièred by Heifetz with Rodziński and the\n    Cleveland Orchestra in December, 1939; but since the conductor and ensemble\n    were under contract to Columbia and Heifetz was with Victor, the first\n    recording had to wait a little over a year until the violinist performed it\n    with Goossens in Cincinnati. The original version heard here differs from\n    the one performed today (which Heifetz re-recorded under the composer’s\n    direction in 1950) primarily in the use of percussion, where the increased\n    presence of the xylophone, cymbals and side drum lend a greater brilliance\n    to the final two movements.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    “The Walk to the Paradise Garden” is perhaps the most well-known excerpt\n    from Delius’ 1907 opera, \u003cem\u003eA Village Romeo and Juliet\u003c\/em\u003e. It is heard\n    here in Sir Thomas Beecham’s arrangement, made, according to the publisher,\n    “in order to bring the original work for large orchestra within the scope\n    of a smaller orchestra.” While the Cincinnati Symphony probably had enough\n    personnel for the original version, perhaps Goossens used the arrangement\n    in homage to his former mentor. As the Walton was from Goossens’ first\n    recording session in Cincinnati, the Delius was from his last, bringing our program\n    full circle.\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: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eEUGENE GOOSSENS\u003c\/b\u003e and the Cincinnati Symphony: Complete Recordings ∙ Volume 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eDELIUS (arr. Beecham) The Walk to the Paradise Garden (Intermezzo from \u003ci\u003eA Village Romeo and Juliet\u003c\/i\u003e)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14 February 1946  \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: D6-RC-5139\/40 ∙ First issued on Victor 11-9493\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e Violin Concerto  (original version)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt. – Andante tranquillo\u003cspan style=\"font-size: 12px;\"\u003e (9:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt. – Presto capriccioso alla napolitana\u003cspan style=\"font-size: 12px;\"\u003e (6:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt. – Vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 February 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 062500-2, 062501-1A, 062502-3, 062503-2R, 062504-1 \u0026amp; 062505-1 ∙ First issued on Victor 18414\/6 in album M-868\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e A London Symphony  (Symphony No. 2)(1920 version)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt. – Lento – Allegro risoluto\u003cspan style=\"font-size: 12px;\"\u003e (11:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt. – Lento\u003cspan style=\"font-size: 12px;\"\u003e (9:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt. – Scherzo (Nocturne) – Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt. – Andante con moto – Maestoso alla marcia – Allegro – Lento – Epilogue\u003cspan style=\"font-size: 12px;\"\u003e (13:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19-20 February 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 062506\/14 ∙ First issued on Victor 11-8253\/7 in album DM-916\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEugene Goossens ∙ Cincinnati Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Cincinnati Music Hall, Cincinnati, Ohio\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal timing: 76:18\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\/PASC654.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC654.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":39751206371389,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205523489102,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC654.jpg?v=1646212105"},{"product_id":"pasc654-cd","title":"GOOSSENS Cincinnati Symphony Orchestra, Vol. 1: Vaughan Williams, Walton, Delius (1941\/46) - PASC654 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC654.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205523456334,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC654_45465dc0-3b70-41ca-b3f1-4d17556446a3.jpg?v=1658751949"},{"product_id":"pasc749","title":"FREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - PASC749","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eENESCU \u003c\/b\u003eRomanian Rhapsody No. 1\u003cbr\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003eCarnaval Overture, Concert Waltzes\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eScapino\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1940-41\u003cbr\u003eTotal duration: 2hr 33:02\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_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe musicians are concentrating, interacting with each other, and playing with style and commitment … it has never sounded as full and rich as it does here578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis fifth volume of Pristine’s series devoted to Frederick Stock’s Chicago Symphony recordings has been restored brilliantly by Mark Obert-Thorn. The set features two major Romantic symphonies and a wonderful variety of the kind of shorter works that regularly made their appearance in subscription concerts before the 1960s. These recordings were made in 1940 and 1941, and with one exception they were made in Orchestra Hall. The exception is Brahms’s Third Symphony, which was recorded in Liederkranz Hall in New York City.\u003c\/p\u003e\u003cp\u003eStock did not possess the highly individual musical personality of some of his contemporaries, particularly Mengelberg, Toscanini, and Furtwängler. The more one hears of his recorded legacy, however, the more evident his strengths become. His 37-year tenure as music director in Chicago was not the result of institutional inertia. It was indicative of a deep satisfaction with his work from the CSO musicians, the orchestra’s board and management, and the city’s music lovers.\u003c\/p\u003e\u003cp\u003eWhile Stock’s performances may lack the unique touches that immediately identify Mengelberg and Furtwängler in just a few chords, his conducting is in no way anodyne. Very few of his recordings come across as if they are on autopilot. The musicians are concentrating, interacting with each other, and playing with style and commitment. We hear a level of precision that was not typical for its time. Anyone who believes that Fritz Reiner and Georg Solti bear total responsibility for the excellence of the CSO is undervaluing how Stock shaped the internal culture of the orchestra.\u003c\/p\u003e\u003cp\u003eThose qualities are particularly evident on CD 2, which contains most of the orchestral miniatures. It is hard to imagine a more convincing case being made for Ernst Toch’s Pinocchio: A Merry Overture , which is played with enthusiasm and now sounds far better than it did on the muddy Past Masters transfer on an earlier release. The two concert waltzes by Glazunov are played with a warm suppleness that makes you wonder why they aren’t heard as often as Johann Strauss’s chestnuts. The accuracy and élan of the CSO strings is shown off in Stock’s arrangement of Paganini’s Moto Perpetuo , and there is abundant buoyancy in Walton’s Scapino and Arthur Benjamin’s Overture to an Italian Comedy .\u003c\/p\u003e\u003cp\u003eThere are only a few performances that fail to take wing. Brahms’s Tragic Overture is square and heavy-handed, and Resniček’s Donna Diana overture is breathlessly rushed. For the most part, however, Stock and the orchestra get the most out of these miniatures, making me wish that today’s conductors would pay similar attention to this corner of the repertoire.\u003c\/p\u003e\u003cp\u003eThe two major symphonies, Brahms’s Third and Schumann’s Fourth, are important representations of Stock’s art. The Brahms suffers a bit from the dry acoustic of Liederkranz Hall and Columbia’s close microphone placement. The lack of space around the orchestra, in combination with Stock’s quick tempos, particularly in the first movement, gives the reading a breathless quality. The Brahms was recorded in November 1940, at the beginning of the World War II draft, which ultimately took a toll on American orchestras (and, conversely, opened the way for women to join them). The orchestral playing, particularly from the woodwinds, is distinguished by both brilliance and sensitivity.\u003c\/p\u003e\u003cp\u003eThe Schumann Fourth was recorded in April 1941, by which time the CSO had lost some of its important players to the military, but there is no hint of deterioration in the ensemble. The richer Orchestra Hall acoustics, and perhaps the CSO’s greater comfort playing in its home, results in a performance that has a more natural flow. In both works Stock’s predilection for quick tempos is evident, but along with it there is flexibility and suppleness of phrasing to provide a balance in the conductor’s tautness.\u003c\/p\u003e\u003cp\u003eToday’s Chicago Symphony Orchestra is recognized as one of the world’s finest. Pristine’s restoration of Stock’s recordings makes clear his foundational role in establishing that greatness. As usual, ordering from Pristine’s website, pristineclassical.com, gives you a choice of download formats or CDs, along with scores and complete discographic information. Some of this material was issued by the CSO itself, but it has never sounded as full and rich as it does here.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eFanfare\u003c\/i\u003e, JAN\/FEB 2026\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC749.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe current volume of our series devoted to Frederick Stock’s purely orchestral recordings with the Chicago Symphony begins with his final recordings for Columbia, as well as the first disc made upon his return to Victor at the end of 1941, placed here because it would not have fit with his remaining late Victors on the single release that will conclude this series.\u003cbr\u003e\u003cbr\u003eBetween the end of Volume 4 and the first work on this volume, Stock made his only two concerto recordings for Columbia.  On the same day (6 March 1940), he set down the Tchaikovsky Violin Concerto with Milstein and the Saint-Saëns Cello Concerto No. 1 with Piatigorsky.  As both of these have seen several CD reissues already, they are omitted from this series.  \u003cbr\u003e\u003cbr\u003eThe next session, held on 23 November 1940, featured Stock’s only electrical recording made in New York while the orchestra was on tour, the Brahms Third Symphony.  Stock’s reading here, like many of the other performances on this release, is filled with an energy and forward momentum that belies his reported health problems which had led to the engagement of Toscanini’s assistant from the New York Philharmonic, Hans Lange, to join the CSO as assistant conductor several years earlier to help shoulder the workload.\u003cbr\u003e\u003cbr\u003eThe remaining Columbias in this release were all set down during two very fruitful days of recording the following year, Friday and Saturday April 25th and 26th, 1941.  These were given over to recording mainly shorter pieces (overtures and “pops” material), with the only extended work being the Schumann Fourth.  It is noteworthy that of the seven complete symphonies Stock recorded over his career, two were by Schumann (this and the 1929 Victor recording of the “Spring” Symphony on Volume 2 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc684\"\u003e\u003ci\u003ePASC 684\u003c\/i\u003e\u003c\/a\u003e)).  By this time in his career, Stock’s approach had changed from the rather \u003ci\u003egemütlich \u003c\/i\u003eapproach of the earlier recording to a more driven, Toscanini-like reading, entirely appropriate to this more dramatic score.\u003cbr\u003e\u003cbr\u003eStock’s largely conservative discography might blind us to the fact that he was a champion of contemporary repertoire throughout his career.  He was the first to perform the Mahler Seventh in the USA; and a year after Stokowski had given the American première of the Eighth in Philadelphia in 1916, Stock programmed it in Chicago.  In 1921, he conducted the world première of Prokofiev’s Piano Concerto No. 3 with the composer as soloist, and was the first to champion Florence Price by conducting her First Symphony in 1933.\u003cbr\u003e\u003cbr\u003eFor the orchestra’s 50th season (1940-41), Stock commissioned a number of famous composers to contribute new works to be premièred by the ensemble, including Stravinsky’s Symphony in C, Miaskovsky’s Symphony No. 21, Kodaly’s Concerto for Orchestra and Milhaud’s First Symphony.  The only work which Stock recorded from this endeavor was Walton’s \u003ci\u003eScapino \u003c\/i\u003eOverture.  Scapino was an Italian Commedia dell’Arte figure known to escape scrapes and close calls with his wits, and Walton constructed an aptly fleet work to showcase him.  This disc, recorded three weeks after its première on 3 April 1941, utilizes the original scoring for large orchestra.  In 1950, Walton revised the score for smaller forces in a version that was first given by Furtwängler and the Philharmonia Orchestra that year.  The work is close in spirit to Arthur Benjamin’s “Overture to an Italian Comedy” which closes this release, although the Benjamin predated the Walton by several years.\u003cbr\u003e\u003cbr\u003eAs far as the rest of the repertoire goes, Glazunov must have been one of Stock’s favorite composers, because his works are featured in his discography as far back as his early acoustic recordings as well as in his late-Twenties Victors.  Here, he gets to record three full discs of the composer’s works.  The Liadov was never issued on 78s, probably because it was an “odd side” that didn’t have a coupling.  And Stock’s arrangement of Paganini’s “Moto Perpetuo”, with its quotations from Beethoven’s \u003ci\u003eEroica\u003c\/i\u003e\/\u003ci\u003ePrometheus \u003c\/i\u003emusic in counterpoint, is much cleverer than Toscanini’s more straightforward all-string arrangement recorded two years earlier.\u003cbr\u003e\u003cbr\u003eOur next volume will be the final one in this series, featuring the remainder of Stock’s non-concerto Victors from 1941.\u003cbr\u003e\u003cbr\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 5\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (75:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st Mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt. - Andante\u003cspan style=\"font-size: 12px;\"\u003e (7:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt. - Poco allegretto\u003cspan style=\"font-size: 12px;\"\u003e (6:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th Mvt. - Allegro - Un poco sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (8:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 November 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: XCO 29139-2, 29140-1, 29141-1, 29142-2, 29143-1, 29144-1, 29145-1 \u0026amp; 29146-1\u003cbr\u003eFirst issued on Columbia 11505\/8-D in album M-443\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30554-1 \u0026amp; 30555-3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11945-D\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eWALTON \u003c\/b\u003eScapino, a Comedy Overture\u003cspan style=\"font-size: 12px;\"\u003e (9:24)\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st Mvt. - Ziemlich langsam - Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (8:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt. - Romanze: Ziemlich langsam\u003cspan style=\"font-size: 12px;\"\u003e (4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd Mvt. - Scherzo: Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4th Mvt. - Langsam - Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (7:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: XCO 30751-2, 30752-1, 30753-2, 30754-1, 30755-1 \u0026amp; 30756-1\u003cbr\u003eFirst issued on Columbia 11581\/3-D in album M-475\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30816-2. 30817-1 \u0026amp; \u0026amp; 30818-1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11605\/6-D in album X-203\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eENESCU \u003c\/b\u003eRomanian Rhapsody No. 1, Op. 11\u003cspan style=\"font-size: 12px;\"\u003e (11:02)\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLIÈRE \u003c\/b\u003eSymphony No. 3 in B minor, “Ilya Murometz”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 3rd Mvt. - The Palace of Prince Vladimir\u003cspan style=\"font-size: 12px;\"\u003e (7:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30966-1 \u0026amp; 30967-2 ∙ First issued on Columbia 11697-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30968-1 \u0026amp; 30969-2 ∙ First issued on Columbia 11771-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30819-1 ∙ First issued on Columbia 11606-D in album X-203\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30970-2 \u0026amp; 30971-1 ∙ First issued on Columbia 11665-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30972-3, 30973-1 \u0026amp; \u0026amp; 30974-1 ∙ First issued on Columbia 11681\/2-D in album X-214\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30975-1 \u0026amp; 30976-1 ∙ First issued on Columbia 11934-D in album X-232\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30977-1 \u0026amp; 30978-1 ∙ First issued on Columbia 11933-D in album X-232\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30979-1 ∙ Unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30980-2 ∙ First issued on Columbia 11682-D in album X-214\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30981-2 ∙ First issued on Columbia 11738-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30546-1 \u0026amp; 30547-2 ∙ First issued on Columbia 11621-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 070159-1 \u0026amp; 070160-1 ∙ First issued on Victor 11-8157\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\u003eGLAZUNOV \u003c\/b\u003eCarnaval Overture, Op. 45\u003cspan style=\"font-size: 12px;\"\u003e (8:43)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eREZNIČEK \u003c\/b\u003eDonna Diana - Overture\u003cspan style=\"font-size: 12px;\"\u003e (3:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eTOCH \u003c\/b\u003ePinocchio: A Merry Overture for Orchestra\u003cspan style=\"font-size: 12px;\"\u003e (6:32)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture, Op. 81\u003cspan style=\"font-size: 12px;\"\u003e (11:11)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eGLAZUNOV \u003c\/b\u003eConcert Waltz No. 1, Op. 47\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eGLAZUNOV \u003c\/b\u003eConcert Waltz No. 2, Op. 51\u003cspan style=\"font-size: 12px;\"\u003e (7:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eLIADOV \u003c\/b\u003eBaba Yaga, Op. 56\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBRAHMS \u003c\/b\u003eMinuet from Serenade No. 1 in D major, Op. 11\u003cspan style=\"font-size: 12px;\"\u003e (4:20)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003ePAGANINI \u003c\/b\u003e(arr. Stock) Moto Perpetuo, Op. 11\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003ePONCHIELLI \u003c\/b\u003eDance of the Hours from \u003ci\u003eLa Gioconda\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eBENJAMIN \u003c\/b\u003eOverture to an Italian Comedy\u003cspan style=\"font-size: 12px;\"\u003e (6:29)\u003c\/span\u003e\u003c\/p\u003e\n\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: \u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003cbr\u003eAll recordings made in Orchestra Hall, Chicago, except for the Brahms Third, which was recorded in Liederkranz Hall, New York City\u003cbr\u003eCover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist).\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 33:02\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC749.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC749.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":54721644495182,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205504581966,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC749_ec2c313e-6db6-44d3-9fee-d0d75bf24e72.jpg?v=1779177038"},{"product_id":"pasc749-cd","title":"FREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - 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\u003ci\u003eOverture\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eGOLDMARK\u003c\/b\u003e Rustic Wedding Symphony\u003cbr\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Peer Gynt excerpts\u003cbr\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e A Midsummer Night’s Dream excerpts\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also Sprach Zarathustra\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Aus Italien - On the Shores of Sorrento\u003cbr\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e Danse macabre\u003cbr\u003e\u003cb\u003eSMETANA\u003c\/b\u003e The Bartered Bride - \u003ci\u003eOverture\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSTOCK\u003c\/b\u003e Symphonic Waltz\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e 1812 Overture\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Marche slave\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Siegfried - Forest Murmurs\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger - \u003ci\u003ePrelude\u003c\/i\u003e\u003cbr\u003e\u003cb\u003ePLUS MUSIC BY:\u003c\/b\u003e \u003cb\u003eBIZET\u003c\/b\u003e, \u003cb\u003eCAREY\u003c\/b\u003e, \u003cb\u003eDOHNÁNYI\u003c\/b\u003e, \u003cb\u003eENESCU\u003c\/b\u003e, François Schubert, \u003cb\u003eGLIÈRE\u003c\/b\u003e, \u003cb\u003eHANDEL\u003c\/b\u003e, \u003cb\u003eIPPOLITOV-IVANOV\u003c\/b\u003e, J. Strauss II, Järnefelt, \u003cb\u003eLIADOV\u003c\/b\u003e, \u003cb\u003eMACDOWELL\u003c\/b\u003e, \u003cb\u003eMEACHAM\u003c\/b\u003e, \u003cb\u003eMOZART\u003c\/b\u003e, \u003cb\u003ePAGANINI\u003c\/b\u003e, Ponchielli, Rezniček, Rimsky-Korsakov, Schubert, Schumann, Sibelius, Simonetti, Suk, Suppé, Thomas, Toch, Volkmann, Walton, Weber and Wolf-Ferrari\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1930-1941\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\/PASC771.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    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;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 2 (1925-1929) - PASC684\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release is the second in a series devoted to longtime Chicago Symphony\n    Orchestra music director Frederick Stock, inaugurated to celebrate the\n    150th anniversary of his birth in 1872. All of Stock’s symphonic recordings\n    will be featured in upcoming volumes (his four concerto recordings have\n    already been well-covered on CD reissues), presented for the most part in\n    the order in which they were recorded. Several items have not been\n    available since the 78-rpm era (here, the Dvořák, Glinka, Glazunov and\n    Smetana works). The Strauss waltz is making its CD\/digital debut, while the\n    1925 recording of the Suk is being released for the first time.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    We depart from our chronological presentation for our opening two\n    selections. The Bach was recorded immediately after the Glinka; but as the\n    only Baroque-era item on our program, it seemed to fit better as the\n    opening number. Stock’s approach, though still using a large orchestra with\n    modern instruments, anticipates later “HIP” trends toward swifter tempi,\n    and diverges from the more monumental contemporaneous Bach recordings of\n    Mengelberg in the same score (in Pristine PASC 595) and Stokowski in the\n    Brandenburg Second (although the mad dash through the Bourées sounds as\n    though it was at least partially dictated by side length restrictions).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Following this is a rarity: the first publication of an unissued recording\n    by Stock and the CSO. During their December, 1925 sessions, this Intermezzo\n    from Josef Suk’s \u003cem\u003eFairy Tale\u003c\/em\u003e Suite was recorded on a 10-inch side\n    with a reduced orchestra in a small venue. No coupling for it was taken\n    down at the time, so it was not immediately released. A year to the day\n    later, the piece was re-recorded in Symphony Hall with the full orchestra\n    on a 12-inch side, and the earlier version was forgotten. It did not\n    surface in time to be included in its proper place in our previous volume\n    (but better 98 years late than never!) Hearing it next to its remake allows\n    us to appreciate the advancement that electrical recording techniques had\n    made in just one year.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Perhaps because of the over-reverberant acoustics of Orchestra Hall in the\n    1926 recordings, sessions for the following two years were moved to the\n    smaller Goodman Theatre. The orchestra’s entire recording schedule for 1927\n    was devoted to a single work: the Tchaikovsky Fifth Symphony. The resulting\n    album, though tonally full and detailed, was problematic, due to the\n    frequent “gain-riding” of the recording engineer, which resulted in sudden\n    volume changes throughout each side. (I have attempted to undo these\n    manipulations in the present transfer.) Additionally, shortly after the\n    album was released, the first side of the last movement was dubbed to avoid\n    blasting when played using the heavy pickups of the day. An undubbed\n    original Orthophonic pressing of this side was used here, while the rest of\n    the sides came from quieter “Gold”-era pressings from the set’s reissue on\n    Victor’s budget “Black Label” series (album G-4). (The \u003ci\u003eLuftpause \u003c\/i\u003eheard at 3:58 in the first movement is not a side-join error, but rather an interpretive mannerism Stock intended, as he repeats it in the middle of a side later on at 9:48.)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    At a time when not all of the Beethoven and Brahms symphonies were yet\n    represented in the Victor catalog, it was an adventurous choice to record\n    Dohnányi’s 1909 Suite in F-sharp, a work whose wide range (from a Brahmsian\n    set of variations to a bravura, castanet-accompanied finale) seems to fit\n    Stock and his ensemble to a “T”. The Wagner arrangement was made by\n    Theodore Thomas, the Chicago Symphony's founder and Stock's predecessor as\n    principal conductor. The Schumann Symphony was the only Stock\/Chicago\n    recording here to gain an “official” CD release on RCA, although that was\n    marred by a notably sharp transfer (A4=450). The corrected speed here\n    allows us to appreciate the performance in a less-hectic aspect than\n    previously presented.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 3 (1929-1930) - PASC699\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\n        This release is  the third in a series devoted to longtime Chicago\n        Symphony Orchestra music  director Frederick Stock, inaugurated to\n        celebrate the 150th anniversary of his  birth in 1872.  All of Stock’s\n        symphonic  recordings will be featured in upcoming volumes (his four\n        concerto recordings  have already been well-covered on CD reissues),\n        presented for the most part in  the order in which they were recorded.\n        Several  items here have not been available since the 78-rpm era (the “Ballabile”  from Glazunov’s \u003cem\u003eLes ruses d’amour\u003c\/em\u003e, the Strauss\n        \u003cem\u003eEmperor Waltz\u003c\/em\u003e and  the Wagner \u003cem\u003eLohengrin\u003c\/em\u003e Prelude).\n\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\n    army 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 were succeeded,  after an eight-year hiatus, by a\n    series of electrical recordings for Victor  (1925-30) which included Bach’s\n    B Minor Suite, a Mozart 40th, Schumann’s  “Spring” Symphony and\n    Tchaikovsky’s Fifth.   After another nine-year absence from the microphone,\n    Stock and the  Chicago Symphony rejoined Columbia for two seasons (1939-40\n    and 1940-41) for an  extensive string of recordings including a Mozart\n    “Prague”, the Schubert 9th,  the Schumann Fourth, Brahms’ Third and\n    \u003cem\u003e\n        Tragic\n    \u003c\/em\u003e\n    Overture, Tchaikovsky’s \u003cem\u003eNutcracker\u003c\/em\u003e Suite, Strauss’\n    \u003cem\u003e\n        Also Sprach Zarathustra\n    \u003c\/em\u003e\n    and numerous short “popular” works, as well as concerto recordings with\n    Milstein and Piatigorsky.  Returning to  Victor for what turned out to be\n    his final full season with the orchestra  (1941-42), he made two\n    much-admired Beethoven concerto recordings with Schnabel,  as well as\n    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    In  the works presented in this volume, Stock returned to some composers who\n    featured again and again in his recordings – Glazunov, Goldmark, Johann\n    Strauss  II and Wagner – while adding two who were new to his discography,\n    Mozart and the  conductor himself.  Stock only recorded  two Mozart works,\n    the G minor Symphony heard here and the “Prague” Symphony,  which he\n    recorded for Columbia in 1939.  His  approach here is relatively\n    straightforward, in the tradition of the large modern  orchestra\n    performances of the time, with just a few touches of string  portamento to\n    betray his Romantic-era roots.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Like  many conductors of his generation, Stock also kept up an active\n    composing life,  producing symphonies, concertos and other types of\n    orchestral works, many of  which he premièred with the Chicago Symphony.\n    Only one of these was recorded under his baton,  his\n    \u003cem\u003e\n        Symphonic Waltz\n    \u003c\/em\u003e\n    of 1907, which looks back at the waltzes of Johann  Strauss (whose\n    \u003cem\u003e\n        Wine, Women and Song\n    \u003c\/em\u003e\n    is quoted in the work) even as it  seems to look forward to the dense\n    orchestration and harmonies of Richard  Strauss’ \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e\n    and the dreamlike diversions of Ravel’s \u003cem\u003eLa  valse\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The  economic depression which hit the United States in October, 1929 led\n    the Victor  label to severely curtail their program of Classical recording.\n    The works heard here were the last that Stock  and the Chicago Symphony\n    would set down on disc for nine years.  When they appeared once more before\n    the microphone,  they were back with their original label, Columbia.  But\n    that is a story for another volume . . .\n\u003c\/p\u003e\n\u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 4 (1939-1940) - PASC721\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After Frederick Stock’s December, 1930  sessions with the Chicago Symphony\n    for Victor, the label essentially shut down  its symphonic recording\n    program, due to the economic exigencies of the Great  Depression.  For the\n    next few years, only  Stokowski’s Philadelphia Orchestra was recorded with\n    any regularity, and that  was only made possible by the use of drastically\n    reduced forces playing in a  small studio.  While the Boston Symphony  and\n    New York Philharmonic came back to the fold after a few years, the Chicago\n    Symphony  remained unrecorded for nearly a decade.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In November of 1939, Stock and the  Chicagoans rejoined their original\n    label, Columbia, for a new set of  recordings.  The move came at an\n    auspicious moment, for the label had just begun recording directly on\n    lacquer master  discs, where a wider frequency range than previously\n    available on shellac discs  could be captured.  Indeed, the first  item of\n    their first session (the \u003cem\u003eNutcracker\u003c\/em\u003e Suite) was the first such\n    master recording Columbia made.  Although  at the time the lacquers were\n    used for dubbing to standard wax 78 rpm masters, they  later serendipitously\n    proved to be a sonically superior source for transfer to  LPs.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present reissue utilizes, wherever  possible, the early 1950s\n    remasterings for Columbia’s Entré LP  series, taken from quiet, high-quality\n    lacquer masters, as the basis for new  restorations.  Although most of\n    Stock’s  Chicago recordings from this period were reissued in this series, a\n    few never  appeared on LP, including \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e and\n    the \u003cem\u003eEuryanthe\u003c\/em\u003e Overture.  These have been transferred  from their\n    only published source, sonically compromised 78 rpm shellac dubs.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Chicago Symphony that we hear on  these recordings is a bit different\n    from the ensemble on the 1925-30 Victor series.  Playing practices had\n    changed over the prior  decade, with string portamento now being used more\n    sparingly and  discreetly.  The now 67-year-old Stock  conducts with his\n    customary high energy; but there are fewer examples of the  kind of willful,\n    idiosyncratic touches he displayed in, for example, his 1927  Tchaikovsky\n    Fifth (although he still inserts \u003cem\u003eLuftpausen\u003c\/em\u003e to divide  sections in\n    the outer movements of the Mozart “Prague”).  His interpretations have\n    seemed to move a bit  more to a somewhat objective middle – if not quite\n    Toscaniniesque, then at  least prefiguring what Fritz Reiner would later\n    bring to this orchestra.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mention of Reiner begs the observation  that Stock was the first conductor\n    to record \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e with the Chicago Symphony, a\n    tradition which was to continue under music  directors Artur Rodziński\n    (reissued on Pristine PASC 569), Fritz Reiner (twice  – 1954, on PASC 411,\n    and 1962) and Sir Georg Solti, as well as Pierre Boulez.  Concertmaster John\n    Weicher played the violin  solos on the first three recordings.   Stock\n    brings a thoroughly idiomatic sweep and drama to this score  (which, oddly,\n    never saw a Columbia LP reissue, even though there was not  another\n    recording of the work in the label’s catalog).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    It is interesting to see so much of the  repertoire that was associated with\n    Leopold Stokowski’s best-selling recordings  with the Philadelphia Orchestra\n    chosen for Stock’s Columbia sessions (here, the \u003cem\u003eNutcracker\u003c\/em\u003e Suite,\n    \u003cem\u003eSwan of Tuonela\u003c\/em\u003e, \u003cem\u003eDanse Macabre\u003c\/em\u003e, even\n    \u003cem\u003e\n        Procession  of the Sardar\n    \u003c\/em\u003e\n    ).  One wonders whether  Columbia saw Stock as a good marketing match to\n    counter Stokowski’s Victor  repertoire.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Along with \u003cem\u003eZarathustra\u003c\/em\u003e, the  Schubert Ninth takes pride of place\n    among the works presented here as one of  Stock’s finest interpretations on\n    disc. \u003cem\u003eFanfare\u003c\/em\u003e critic Mortimer Frank called it “a superb account […]\n    which, even in today’s  heavy competition, would shine as one of the great\n    recordings of the  score.”  Frank also called attention to  “[t]wo aspects\n    of the performance [that] are especially interesting: a  march-like\n    insistence in the second movement and the playing of the two final  measures\n    of the first movement strictly in tempo, thereby italicizing their  motivic\n    relationship to what has preceded.   Toscanini, so far as I can recall, was\n    the only other conductor on  record to do this […]”.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The recording dates shown are taken from  the late Don Tait’s unpublished\n    CSO discography, which utilized data from  Columbia’s recording logs, some\n    of which was missing or ambiguous.  The matrix and take numbers of the\n    issued 78s  bear no relationship to the lacquer masters, and were assigned\n    at the time of  dubbing.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - PASC749\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003eThe current volume of our series devoted to Frederick Stock’s purely orchestral recordings with the Chicago Symphony begins with his final recordings for Columbia, as well as the first disc made upon his return to Victor at the end of 1941, placed here because it would not have fit with his remaining late Victors on the single release that will conclude this series.\u003cbr\u003e\u003cbr\u003eBetween the end of Volume 4 and the first work on this volume, Stock made his only two concerto recordings for Columbia.  On the same day (6 March 1940), he set down the Tchaikovsky Violin Concerto with Milstein and the Saint-Saëns Cello Concerto No. 1 with Piatigorsky.  As both of these have seen several CD reissues already, they are omitted from this series.  \u003cbr\u003e\u003cbr\u003eThe next session, held on 23 November 1940, featured Stock’s only electrical recording made in New York while the orchestra was on tour, the Brahms Third Symphony.  Stock’s reading here, like many of the other performances on this release, is filled with an energy and forward momentum that belies his reported health problems which had led to the engagement of Toscanini’s assistant from the New York Philharmonic, Hans Lange, to join the CSO as assistant conductor several years earlier to help shoulder the workload.\u003cbr\u003e\u003cbr\u003eThe remaining Columbias in this release were all set down during two very fruitful days of recording the following year, Friday and Saturday April 25th and 26th, 1941.  These were given over to recording mainly shorter pieces (overtures and “pops” material), with the only extended work being the Schumann Fourth.  It is noteworthy that of the seven complete symphonies Stock recorded over his career, two were by Schumann (this and the 1929 Victor recording of the “Spring” Symphony on Volume 2 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc684\"\u003e\u003ci\u003ePASC 684\u003c\/i\u003e\u003c\/a\u003e)).  By this time in his career, Stock’s approach had changed from the rather \u003ci\u003egemütlich \u003c\/i\u003eapproach of the earlier recording to a more driven, Toscanini-like reading, entirely appropriate to this more dramatic score.\u003cbr\u003e\u003cbr\u003eStock’s largely conservative discography might blind us to the fact that he was a champion of contemporary repertoire throughout his career.  He was the first to perform the Mahler Seventh in the USA; and a year after Stokowski had given the American première of the Eighth in Philadelphia in 1916, Stock programmed it in Chicago.  In 1921, he conducted the world première of Prokofiev’s Piano Concerto No. 3 with the composer as soloist, and was the first to champion Florence Price by conducting her First Symphony in 1933.\u003cbr\u003e\u003cbr\u003eFor the orchestra’s 50th season (1940-41), Stock commissioned a number of famous composers to contribute new works to be premièred by the ensemble, including Stravinsky’s Symphony in C, Miaskovsky’s Symphony No. 21, Kodaly’s Concerto for Orchestra and Milhaud’s First Symphony.  The only work which Stock recorded from this endeavor was Walton’s \u003ci\u003eScapino \u003c\/i\u003eOverture.  Scapino was an Italian Commedia dell’Arte figure known to escape scrapes and close calls with his wits, and Walton constructed an aptly fleet work to showcase him.  This disc, recorded three weeks after its première on 3 April 1941, utilizes the original scoring for large orchestra.  In 1950, Walton revised the score for smaller forces in a version that was first given by Furtwängler and the Philharmonia Orchestra that year.  The work is close in spirit to Arthur Benjamin’s “Overture to an Italian Comedy” which closes this release, although the Benjamin predated the Walton by several years.\u003cbr\u003e\u003cbr\u003eAs far as the rest of the repertoire goes, Glazunov must have been one of Stock’s favorite composers, because his works are featured in his discography as far back as his early acoustic recordings as well as in his late-Twenties Victors.  Here, he gets to record three full discs of the composer’s works.  The Liadov was never issued on 78s, probably because it was an “odd side” that didn’t have a coupling.  And Stock’s arrangement of Paganini’s “Moto Perpetuo”, with its quotations from Beethoven’s \u003ci\u003eEroica\u003c\/i\u003e\/\u003ci\u003ePrometheus \u003c\/i\u003emusic in counterpoint, is much cleverer than Toscanini’s more straightforward all-string arrangement recorded two years earlier.\u003cbr\u003e\u003cbr\u003eOur next volume will be the final one in this series, featuring the remainder of Stock’s non-concerto Victors from 1941.\u003cbr\u003e\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 6 (1941) - PASC771\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis final volume of our series devoted to Frederick Stock’s purely orchestral recordings with the Chicago Symphony features the remainder of the sides made during his December, 1941 Victor sessions other than Arthur Benjamin’s \u003cem\u003eOverture to an Italian Comedy\u003c\/em\u003e, which was placed at the end of the prior volume due to timing constraints.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eStock’s compositional efforts include several transcriptions, a few of which he recorded in Chicago going back to the acoustic era. The Bach “St. Anne” Prelude and Fugue is the most ambitious of the works that he orchestrated to see release on disc, and is more opulently scored than Arnold Schoenberg’s take on the same work (which that composer conducted with the CSO in 1934). One other Stock transcription from these sessions, an electric remake of his arrangement of “The Star-Spangled Banner”, has never been released and is believed to be lost.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eStock made few Wagner recordings, but what he did leave behind was memorable. The “Forest Murmurs” from \u003cem\u003eSiegfried\u003c\/em\u003e was meant to replace Mengelberg’s 1928 New York recording in the Victor catalog, yet for unknown reasons it was never issued on 78s. It has been transferred here from a vinyl test pressing.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough Stock excelled in the rhythms and color of such middle European repertoire as that of Dvořák, Smetana and Suk, he recorded comparatively little of it. In these sessions, having already set down the middle part of Dvořák’s “Nature, Life and Love” triptych (the \u003cem\u003eCarnival\u003c\/em\u003e Overture, in Volume 1), he now assayed the first section, \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e. These, along with a single Slavonic Dance (in Volume 2) were his only Dvořák recordings. It was issued on three sides, and having no appropriate new filler, was released with a reissue of his 1926 recording of a movement from Suk’s \u003cem\u003eFairy Tale Suite\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Chicago Symphony’s long association on disc with the music of Richard Strauss began during Stock’s tenure. Yet, despite strong performances of \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e (on Volume 4) and a live broadcast of \u003cem\u003eTill Eulenspiegel\u003c\/em\u003e, the single movement from the composer’s early work \u003cem\u003eAus Italien\u003c\/em\u003e is the total of Stock’s Strauss on disc. The conductor’s way with the graceful swooping of the birds over Sorrento makes one wish Victor had recorded the entire score.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eChausson’s only symphony has never achieved the popularity of that of his teacher and mentor César Franck, on which it is clearly modeled. Only three recordings of it were made during the entire 78 rpm era; but Stock’s is the best played, best recorded and arguably the most persuasively interpreted of the lot. His passionate reading makes a strong case for this underrated score, and also includes a surprise in the third movement: Stock rescores the solo trumpet-led chorale theme toward the end for the organ, in a nod to Saint-Saëns’ Third Symphony (or perhaps Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e, where it appears in a similar place), a substitution not to be found in any other recording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eStock returned for two more Victor sessions in July of 1942, recording the Beethoven Fourth and Fifth (“Emperor”) Concertos with Artur Schnabel, performances which have stayed in the catalog for much of the time since and are not included in this series. He died three months later, ending a 47-year association with the Chicago Symphony, 37 of it spent as its music director, one of the longest tenures of any conductor-orchestra association in history.\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\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and the Chicago Symphony, Vols. 1-6 (1930-41)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\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\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 2 (1925-1929) - PASC684\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eFREDERICK STOCK \u003c\/b\u003eand The Chicago Symphony, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. \u003cb\u003eBACH\u003c\/b\u003e Suite No. 2 in B minor, BWV 1067\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Ouverture: Grave; Allegro\u003cspan style=\"font-size: 12px;\"\u003e (7:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Rondeau: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Sarabande: Andante\u003cspan style=\"font-size: 12px;\"\u003e (1:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Bourées I and II\u003cspan style=\"font-size: 12px;\"\u003e (1:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Polonaise: Moderato\u003cspan style=\"font-size: 12px;\"\u003e(2:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Menuet: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (0:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Badinerie: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17 December 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 48765-2, 48766-2, 48767-3 \u0026amp; 48768-2 ∙ First issued on Victor 6914\/5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1925 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: BVE 34069-1 ∙ Previously unpublished\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 34069-2 ∙ First issued on Victor 6649\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 37284-2 ∙ First issued on Victor 6649\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eErnest Liegl\u003c\/b\u003e (flute)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eSUK Intermezzo: Playing at Swans and Peacocks \u003c\/b\u003e (No. 2 from \u003ci\u003eFairy Tale Suite\u003c\/i\u003e, Op. 16) \u003ci\u003e(first recording)\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (3:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eSUK Intermezzo: Playing at Swans and Peacocks \u003c\/b\u003e(No. 2 from \u003ci\u003eFairy Tale Suite\u003c\/i\u003e, Op. 16) \u003ci\u003e(second recording)\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eDVOŘÁK Slavonic Dance No. 8 in G minor, Op. 46\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e   (4:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 5 in E minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 1st Mvt. – Andante – Allegro con anima\u003cspan style=\"font-size: 12px;\"\u003e (14:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 2nd Mvt. – Andante cantabile, con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (13:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 3rd Mvt. – Valse: Allegro Moderato\u003cspan style=\"font-size: 12px;\"\u003e (6:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e 4th Mvt. – Andante maestoso – Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (9:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19-20 December 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 41382-5, 41383-4, 41384-2, 41385-2, 41386-2, 41387-1, 41388-2, 41389-2, 41390-3, 41391-1, 41392-3 \u0026amp; 41393-3 ∙ First issued on Victor 6777\/82 in album M-25\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17 December 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 48764-2 ∙ First issued on Victor 7123\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eGLINKA Russlan and Ludmilla – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDOHNÁNYI\u003c\/b\u003e Suite in F-sharp minor, Op. 19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st Mvt. – Andante con variazioni\u003cspan style=\"font-size: 12px;\"\u003e (9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt. – Scherzo: Allegretto vivace\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt. – Romanza: Andante poco mosso – Poco più mosso – Tempo I\u003cspan style=\"font-size: 12px;\"\u003e (4:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th Mvt. – Rondo: Allegro vivace – Andante – Tempo I\u003cspan style=\"font-size: 12px;\"\u003e (7:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18-19 December 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 48769-2, 48770-1, 48771-2, 48772-3, 48773-2 \u0026amp; 48774-2 ∙ First issued on Victor 6991\/3 in album M-47\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19 December 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 48775-1 ∙ First issued on Victor 7309 in album M-86\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19 December 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 48776-1 ∙ First issued on Victor 7123\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17 December 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: BVE 57266-4 \u0026amp; 57267-3 ∙ First issued on Victor 1481\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17 December 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: BVE 57268-3 \u0026amp; 57269-3 ∙ First issued on Victor 1555\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eGLAZUNOV Pas d’action \u003c\/b\u003e(from \u003ci\u003eScènes de ballet\u003c\/i\u003e, Op. 52)\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eWAGNER (arr. T. Thomas) Träume\u003c\/b\u003e (No. 5 from\u003ci\u003e Wesendonck Lieder\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II Du und du \u003c\/b\u003e (Waltzes from \u003ci\u003eDie Fledermaus\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (6:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eSMETANA The Bartered Bride - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Symphony No. 1 in B-flat major, Op. 38, “Spring”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 1st Mvt. – Andante un poco maestoso\u003cspan style=\"font-size: 12px;\"\u003e (9:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd Mvt. – Larghetto\u003cspan style=\"font-size: 12px;\"\u003e (5:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 3rd Mvt. – Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (5:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 4th Mvt. – Allegro animato e grazioso\u003cspan style=\"font-size: 12px;\"\u003e (8:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17-18 December 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 57270-3, 57271-1, 57272-2, 57273-2, 57274-3, 57275-2 \u0026amp; 57276-1 ∙ First issued on Victor 7306\/9 in album M-86\u003c\/span\u003e\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\u003cbr\u003eRecording locations:\u003cbr\u003eWebster Hotel Ballroom, Chicago (1925)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra Hall, Chicago (1926, 1929)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eGoodman Theatre, Chicago (1927, 1928)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 34:06\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 3 (1929-1930) - PASC699\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003eLes ruses d’amour, Op. 61\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction et Scene I\u003cspan style=\"font-size: 12px;\"\u003e (4:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Ballabile des paysans et des paysannes\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 December 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 57277-3 \u0026amp; 57278-1 ∙ First issued on Victor 7423\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\u003eSymphony No. 40 in G minor, K.550\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st Mvt. – Molto allegro\u003cspan style=\"font-size: 12px;\"\u003e (7:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd Mvt. – Andante\u003cspan style=\"font-size: 12px;\"\u003e (8:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd Mvt. – Menuetto: Allegro – Trio\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th Mvt. – Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 56883-4, 56884-3, 56885-1, 56886-1, 56887-1 \u0026amp; 56888-2 ∙ First issued on Victor 7394\/6 in album M-109\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 56889-2 \u0026amp; 56890-2 ∙ First issued on Victor 7653\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 56891-3 ∙ First issued on Victor 7386\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 56892-2 \u0026amp; 56893-1 ∙ First issued on Victor 7474\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CVE 56894-2 ∙ First issued on Victor 7386\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CVE 56895-2 \u0026amp; 56896-2 ∙ First issued on Victor 7387\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II \u003c\/b\u003eEmperor Waltz (\u003ci\u003eKaiser-Walzer\u003c\/i\u003e), Op. 437\u003cspan style=\"font-size: 12px;\"\u003e (8:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eTannhäuser – Fest March\u003cspan style=\"font-size: 12px;\"\u003e(4:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eGOLDMARK \u003c\/b\u003eThe Queen of Sheba – Ballet Music\u003cspan style=\"font-size: 12px;\"\u003e  (9:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eLohengrin – Prelude to Act 3\u003cspan style=\"font-size: 12px;\"\u003e (3:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eSTOCK \u003c\/b\u003eSymphonic Waltz, Op. 8\u003cspan style=\"font-size: 12px;\"\u003e (8:42)\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\u003cbr\u003eAll recordings made in Orchestra Hall, Chicago\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal timing: 67:21\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 4 (1939-1940) - PASC721\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and the Chicago Symphony - Volume 4\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (74:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Nutcracker Suite, Op. 71a\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Miniature Overture\u003cspan style=\"font-size: 12px;\"\u003e (3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e March\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Dance of the Sugar-Plum Fairy\u003cspan style=\"font-size: 12px;\"\u003e (1:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Russian Dance (Trepak)\u003cspan style=\"font-size: 12px;\"\u003e (1:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Arabian Dance\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Chinese Dance\u003cspan style=\"font-size: 12px;\"\u003e (1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Dance of the Flutes\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Waltz of the Flowers\u003cspan style=\"font-size: 12px;\"\u003e (6:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 November 1939 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WXCO 26302-2, 26303-2, 26304-2, 26305-2, 26306-5 \u0026amp; 26307-1 ∙ First issued on Columbia 69799\/803-D in album M-395\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 Symphony No. 38 in D major, “Prague” K.504\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 1st Mvt. - Adagio - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (9:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd Mvt. - Andante\u003cspan style=\"font-size: 12px;\"\u003e (9:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 3rd Mvt. - Finale (Presto)\u003cspan style=\"font-size: 12px;\"\u003e (3:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 November 1939 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WXCO 26620-2, 26621-1, 26622-2, 26623-2, 26624-3 \u0026amp; 26625-3 ∙ First issued on Columbia 11252\/4-D in album M-410\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSSAlso Sprach Zarathustra, Op. 30\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Sonnenaufgang (\u003ci\u003eSunrise\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (1:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Von den Hinterweltlern (\u003ci\u003eOf the Backworldsmen\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Von den großen Sehnsucht (\u003ci\u003eOf the Great Longing\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (1:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Von den Freuden und Leidenschaften (\u003ci\u003eOf Joys and Passions\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Das Grablied (\u003ci\u003eThe Song of the Grave\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Von der Wissenschaft (\u003ci\u003eOf Science and Learning\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (4:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Der Genesende (\u003ci\u003eThe Convalescent\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Das Tanzlied (\u003ci\u003eThe Dance Song\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (7:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Nachtwandlerlied (\u003ci\u003eSong of the Night Wanderer\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17 January 1940 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WXCO 26327-1, 26328-1, 26329-1, 26330-1, 26331-3, 26332-1, 26333-1 \u0026amp; 26334-1 ∙ First issued on Columbia 11391\/4 in album M-421\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 November 1939 or 17 or 24 January 1940 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WXCO 26720-1 \u0026amp; 26721-3 ∙ First issued on Columbia 11388-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17 January 1940 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WXCO 26426 ∙ First issued on Columbia 11738-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24 January 1940 ∙ Matrice: WXCO 26411\/2 \u003cspan style=\"font-size: 12px;\"\u003e∙ First issued on Columbia 11251-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24 January 1940 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WXCO 26424-1 \u0026amp; 26425-2 ∙ First issued on Columbia 11179-D\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (71:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eSIBELIUS The Swan of Tuonela (from \u003ci\u003eLemminkäinen Legends\u003c\/i\u003e, Op. 22)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eIPPOLITOV-IVANOV Procession of the Sardar (from \u003ci\u003eCaucasian Sketches\u003c\/i\u003e, Op. 10)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eSAINT-SAËNS Danse Macabre, Op. 40\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWEBER Euryanthe - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Symphony No. 9 in C major, “The Great” D.944\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt. - Andante - Allegro ma non troppo - Più moto\u003cspan style=\"font-size: 12px;\"\u003e (12:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt. - Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (12:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt. - Scherzo. Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (7:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt. - Finale. Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (11:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24 January 1940 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WXCO 26449-1, 26450-2, 26451-2, 26452-2, 26453-2, 26454-2, 26455-1, 26456-2, 26457-1, 26458-1 \u0026amp; 26459-1 ∙ First issued on Columbia 11190\/96-D in album M-403\u003c\/span\u003e\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: 16px;\"\u003e\u003cb\u003eJohn Weicher, \u003ci\u003esolo violin\u003c\/i\u003e \u003c\/b\u003e (\u003ci\u003eR. Strauss, Saint-Saëns\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eRobert M. Mayer, \u003ci\u003esolo English horn \u003c\/i\u003e\u003c\/b\u003e(\u003ci\u003eSibelius\u003c\/i\u003e)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAll recordings made in Orchestra Hall, Chicago\u003cbr\u003eCover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist).\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 26:05\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - PASC749\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 5\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (75:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st Mvt. - Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt. - Andante\u003cspan style=\"font-size: 12px;\"\u003e (7:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt. - Poco allegretto\u003cspan style=\"font-size: 12px;\"\u003e (6:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th Mvt. - Allegro - Un poco sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (8:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 November 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: XCO 29139-2, 29140-1, 29141-1, 29142-2, 29143-1, 29144-1, 29145-1 \u0026amp; 29146-1\u003cbr\u003eFirst issued on Columbia 11505\/8-D in album M-443\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30554-1 \u0026amp; 30555-3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11945-D\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eWALTON \u003c\/b\u003eScapino, a Comedy Overture\u003cspan style=\"font-size: 12px;\"\u003e (9:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eSymphony No. 4 in D minor, Op. 120\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st Mvt. - Ziemlich langsam - Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (8:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt. - Romanze: Ziemlich langsam\u003cspan style=\"font-size: 12px;\"\u003e (4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd Mvt. - Scherzo: Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4th Mvt. - Langsam - Lebhaft\u003cspan style=\"font-size: 12px;\"\u003e (7:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: XCO 30751-2, 30752-1, 30753-2, 30754-1, 30755-1 \u0026amp; 30756-1\u003cbr\u003eFirst issued on Columbia 11581\/3-D in album M-475\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30816-2. 30817-1 \u0026amp; \u0026amp; 30818-1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Columbia 11605\/6-D in album X-203\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eENESCU \u003c\/b\u003eRomanian Rhapsody No. 1, Op. 11\u003cspan style=\"font-size: 12px;\"\u003e (11:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLIÈRE \u003c\/b\u003eSymphony No. 3 in B minor, “Ilya Murometz”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 3rd Mvt. - The Palace of Prince Vladimir\u003cspan style=\"font-size: 12px;\"\u003e (7:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30966-1 \u0026amp; 30967-2 ∙ First issued on Columbia 11697-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30968-1 \u0026amp; 30969-2 ∙ First issued on Columbia 11771-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30819-1 ∙ First issued on Columbia 11606-D in album X-203\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30970-2 \u0026amp; 30971-1 ∙ First issued on Columbia 11665-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30972-3, 30973-1 \u0026amp; \u0026amp; 30974-1 ∙ First issued on Columbia 11681\/2-D in album X-214\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30975-1 \u0026amp; 30976-1 ∙ First issued on Columbia 11934-D in album X-232\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30977-1 \u0026amp; 30978-1 ∙ First issued on Columbia 11933-D in album X-232\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30979-1 ∙ Unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30980-2 ∙ First issued on Columbia 11682-D in album X-214\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: XCO 30981-2 ∙ First issued on Columbia 11738-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 April 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: XCO 30546-1 \u0026amp; 30547-2 ∙ First issued on Columbia 11621-D\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 070159-1 \u0026amp; 070160-1 ∙ First issued on Victor 11-8157\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eGLAZUNOV \u003c\/b\u003eCarnaval Overture, Op. 45\u003cspan style=\"font-size: 12px;\"\u003e (8:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eREZNIČEK \u003c\/b\u003eDonna Diana - Overture\u003cspan style=\"font-size: 12px;\"\u003e (3:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eTOCH \u003c\/b\u003ePinocchio: A Merry Overture for Orchestra\u003cspan style=\"font-size: 12px;\"\u003e (6:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture, Op. 81\u003cspan style=\"font-size: 12px;\"\u003e (11:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eGLAZUNOV \u003c\/b\u003eConcert Waltz No. 1, Op. 47\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eGLAZUNOV \u003c\/b\u003eConcert Waltz No. 2, Op. 51\u003cspan style=\"font-size: 12px;\"\u003e (7:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eLIADOV \u003c\/b\u003eBaba Yaga, Op. 56\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBRAHMS \u003c\/b\u003eMinuet from Serenade No. 1 in D major, Op. 11\u003cspan style=\"font-size: 12px;\"\u003e (4:20)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003ePAGANINI \u003c\/b\u003e(arr. Stock) Moto Perpetuo, Op. 11\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003ePONCHIELLI \u003c\/b\u003eDance of the Hours from \u003ci\u003eLa Gioconda\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eBENJAMIN \u003c\/b\u003eOverture to an Italian Comedy\u003cspan style=\"font-size: 12px;\"\u003e (6:29)\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: \u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003cbr\u003eAll recordings made in Orchestra Hall, Chicago, except for the Brahms Third, which was recorded in Liederkranz Hall, New York City\u003cbr\u003eCover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist).\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 33:02\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eFREDERICK STOCK and The Chicago Symphony, Volume 6 (1941) - PASC771\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 6\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e (orch. Stock) Prelude and Fugue in E-flat, BWV 552, “St. Anne”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (9:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Fugue\u003cspan style=\"font-size: 12px;\"\u003e (5:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1941 \u003cspan style=\"font-size: 12px;\"\u003e· Matrices: CS 070163\/6 · First issued on Victor 11-8541\/2 in album M-958\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22-23 December 1941 \u003cspan style=\"font-size: 12px;\"\u003e· Matrices: CS 070161\/2 · Unpublished on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22-23 December 1941 \u003cspan style=\"font-size: 12px;\"\u003e· Matrices: CS 070167\/9 · First issued on Victor 11-8639\/40 in album M-975\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1941 \u003cspan style=\"font-size: 12px;\"\u003e· Matrices: CS 070171\/2 · First issued on Victor 18535\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWAGNER\u003c\/b\u003e\u003ci\u003eSiegfried\u003c\/i\u003e - Forest Murmurs\u003cspan style=\"font-size: 12px;\"\u003e (8:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eDVOŘÁK\u003c\/b\u003e In Nature’s Realm, Overture, Op. 91\u003cspan style=\"font-size: 12px;\"\u003e (11:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eR. STRAUSS\u003c\/b\u003e On the Shores of Sorrento from \u003ci\u003eAus Italien\u003c\/i\u003e, Op. 16\u003cspan style=\"font-size: 12px;\"\u003e (9:56)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHAUSSON\u003c\/b\u003e Symphony in B-flat, Op. 20\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st Mvt. - Lent - Allegro vivo\u003cspan style=\"font-size: 12px;\"\u003e (11:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt. - Très lent\u003cspan style=\"font-size: 12px;\"\u003e (7:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd Mvt. - Animé\u003cspan style=\"font-size: 12px;\"\u003e (11:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1941 \u003cspan style=\"font-size: 12px;\"\u003e· Matrices: CS 070171\/2 · First issued on Victor 11-8491\/4 in album M-950\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Frederick Stock\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAll recordings made in Orchestra Hall, Chicago\u003cbr\u003eCover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist).\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:42\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":59710275354958,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":59710275387726,"sku":null,"price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX050_a061576e-c9d7-41b6-9dd3-cc19ef24e542.jpg?v=1781189270"},{"product_id":"pabx050-cd","title":"FREDERICK STOCK and the Chicago Symphony, Vols. 1-6 (1930-41) - 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