{"title":"Weber","description":"Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.\u003cbr\u003e\u003cbr\u003eWeber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German \"nationalist\" opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.\u003cbr\u003e\u003cbr\u003eA brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück in F minor (concert piece), which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, were later orchestrated by Berlioz, while his Polacca Brillante was later set for piano and orchestra by Liszt.\u003cbr\u003e\u003cbr\u003eWeber's compositions for clarinet, bassoon, and horn occupy an important place in the musical repertoire. His compositions for the clarinet, which include two concertos, a concertino, a quintet, a duo concertante, and variations on a theme from his opera Silvana, are regularly performed today. His Concertino for Horn and Orchestra requires the performer to simultaneously produce two notes by humming while playing—a technique known as \"multiphonics\". His bassoon concerto and the Andante e Rondo ungarese (a reworking of a piece originally for viola and orchestra) are also popular with bassoonists.\u003cbr\u003e\u003cbr\u003eWeber's contribution to vocal and choral music is also significant. His body of Catholic religious music was highly popular in 19th-century Germany, and he composed one of the earliest song cycles, Die Temperamente beim Verluste der Geliebten ([Four] Temperaments on the Loss of a Lover). Weber was also notable as one of the first conductors to conduct without a piano or violin.\u003cbr\u003e\u003cbr\u003eWeber's orchestration has also been highly praised and emulated by later generations of composers – Berlioz referred to him several times in his Treatise on Instrumentation while Debussy remarked that the sound of the Weber orchestra was obtained through the scrutiny of the soul of each instrument.\u003cbr\u003e\u003cbr\u003eHis operas influenced the work of later opera composers, especially in Germany, such as Marschner, Meyerbeer and Wagner, as well as several nationalist 19th-century composers such as Glinka. Homage has been paid to Weber by 20th-century composers such as Debussy, Stravinsky, Mahler (who completed Weber's unfinished comic opera Die drei Pintos and made revisions of Euryanthe and Oberon) and Hindemith (composer of the popular Symphonic Metamorphosis of Themes by Carl Maria von Weber).\u003cbr\u003e\u003cbr\u003eWeber also wrote music journalism and was interested in folksong, and learned lithography to engrave his own works.","products":[{"product_id":"paco122","title":"FURTWÄNGLER Weber: Der Freischütz (1954) - PACO122","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in Salzburg, 1954\u003cbr\u003eTotal duration: 2hr 30:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus of the Vienna State Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Wilhelm Furtwängler\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance remains one of the finest of this opera ... grab this reissue because of its sonic improvement over all predecessors.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI entered this performance, when it was issued on CD by Music \u0026amp; Arts, into \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s Classical Hall of Fame (24:3), and that review can be found in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive.\n For that reason I will not go into great detail here. But I will say \nthat while the Music \u0026amp; Arts has been the best remastering of this \nsomewhat dry sounding 1954 recording until now, Pristine Audio has \nimproved upon it significantly. Andrew Rose, the proprietor of Pristine,\n felt that the best sound of prior versions was the Fonit Cetra LP issue\n (and I’ll admit it was close to the M\u0026amp; A, though I preferred the \nlatter) and he used a mint condition set of those LPs as his source. \nWhat he has managed here is a richer orchestra sound, with a \nparticularly striking depth in the bass, and he has taken some of the \nedge off the voices of the singers. A bit of that hard edge is still \npresent—probably there forever—but the overall sound now is extremely \nsatisfying. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance remains one of the finest of this opera, although \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n Jim Miller in 12:5 dissents a bit, finding it a satisfactory \nperformance but not a great one. Furtwängler is slower than most, but I \nfind his conducting intensely theatrical and powerful. As I said in my \noriginal review, “If you think of this as a light folk opera, this \nperformance will seem overblown. But if you see the opera as the root of\n German Romanticism through to Wagner, then this reading will make a \ngreat deal of sense.” Furtwängler gets everyone in the cast on the same \npage, so that we hear real characters interacting with each other, not \nsingers vocalizing to the audience. The inflection is dramatically alert\n and convincing in the spoken dialogue and in musical numbers. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHans Hopf’s somewhat whiny tone remains\n a bit of a problem, but his singing is more lovely and elegant than it \nusually was and he is effective for the most part. The rest of the cast \nis terrific, most particularly Grümmer. You are likely to want to stop \nbreathing during Agathe’s great cavatina, as she and Furtwängler create a\n very special world. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs is usual with Pristine, there are minimal notes (actually, only an excerpt of my earlier \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n and a producer’s comment). Nonetheless, fans of this performance, or \nthose who are tempted by the extraordinary combination of cast and \nconductors, should grab this reissue because of its sonic improvement \nover all predecessors. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis justly famed performance already has five previous reviews in the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Fanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Archive, for five previous incarnations on CD. Easily the best of the \npreviously available versions is that on Music \u0026amp; Arts, discussed in \ndetail by Henry Fogel back in 24:3. Here, Andrew Rose of Pristine Audio \nhas again applied his trademark XR remastering wizardry to produce a new\n sonic profile that significantly improves on all previous versions, \nwith the results being nearly on the level of studio recordings of the \nsame vintage. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn that review, Fogel wrote: “As for the performance, there is no other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e like it....There is a gravitas about this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that is unmatched by any recording I know....What is most startling is \nits dramatic impact.” With those sentiments I concur completely. \nAlthough I have a few criticisms of the conducting for being too slow in\n spots—e.g., the Peasant Dance in act I is overly heavy in tread, and \nthe final portion of “Durch die Wälder” is so drawn out that Hans Hopf, a\n singer known for his considerable lung capacity, audibly struggles to \nsustain his phrases—there is indeed no other conductor who matches \nFurtwängler for the weight and intensity of expression he brings to this\n drama. And, of course, he has the Vienna Philharmonic at his command \nhere. Unless you’ve heard this performance, warts and all, you arguably \nhave not really ever heard \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFogel and I do differ in our \nassessments of some of the singers. In his earliest review of a release \nof this performance (dating all the way back to issue 6:3!), he wrote: \n“Every role is superbly sung with the exception of Max....Once beyond \nHopf, though, you will hear some of the finest singing Weber has ever \nbeen treated to.” In my judgment, this performance falls short vocally \ncompared to what I consider to be the desert-island \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the nearly contemporaneous 1955 radio broadcast conducted by Erich \nKleiber with three of the same principals: Elisabeth Grümmer, Rita \nStreich, and Hans Hopf. Fogel and I agree absolutely on the merits of \nGrümmer as Agathe and Streich as Aennchen (both nonpareil) and the \ndemerits of Hopf as Max (a flabby, beefy voice and somewhat whiny \ncharacterization). All three are much the same in the two performances; \nwith Kleiber, Hopf has better breath control under his faster tempos but\n is somewhat careless at certain points about intonation. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAfter that, our judgments diverge. I \nhave always considered Kurt Böhme to be a much overrated singer, \nafflicted with a grainy, somewhat hollow voice and persistent wobble. \nHere, he is actually in fairly good form as Kaspar—generally steady in \nemission and suitably malevolent in characterization, though his top \nnotes are clearly a stretch. He is, however, simply no match, either \nvocally or interpretively, for the wonderfully sinister and potent Max \nProebstl under Kleiber. In the comprimario roles, Alfred Poell sings \nOttokár in both performances, but is heard to significantly better \nadvantage under Kleiber. Böhme appears under Kleiber as the Hermit \ninstead of as Kaspar; he’s tolerable, although Otto Edelmann for \nFurtwängler is even better, but neither one can hold a candle to Gottlob\n Frick in the EMI set under Keilberth that still remains far and away \nthe best studio and stereo recording of this opera. (That set also has \nthe stupefying luxury of Hermann Prey as Ottokár!) As Kuno, I prefer \nHeiner Horn under Kleiber to Oskar Czerwenka under Furtwängler, and \nlikewise the well-sung Kilian of Kurt Marschner is infinitely superior \nto the grotesquely ugly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSprechgesang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Karl Dönch. Finally, Kleiber also has the superior Samiel in that \nimportant speaking role, and the studio sound effects for the Wolf’s \nGlen scene for him are of absolutely hair-raising horror. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll that said, even with its secondary \nflaws, this set is still indispensable. While the Kleiber performance is\n in my judgment much superior, there are a couple of factors that may \nsway other people’s in a different direction than mine. First, the \nKleiber version was a radio studio broadcast that used professional \nactors for the spoken dialogue instead of having the singers speak their\n own lines. That doesn’t bother me—at least in this instance, because \nevery one of the actors is superb—but some people may object. Second, \nthe broadcast has two cuts: the long spoken narrative in act I of the \ninstitution of the “free-shot” competition, and Aennchen’s act III aria.\n According to booklet notes in the Koch-Schwann release of the Kleiber \nversion, this apparently was done because Streich fell ill in the course\n of making the tapes for broadcast. However, since Streich’s singing of \nthat aria is preserved not only here but also in a complete studio \nrecording of the opera on DG conducted by Eugen Jochum, I’ve simply \nremedied that omission by splicing in these two items from the Jochum \nset into the Kleiber broadcast on CDs I burned for myself. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn the last analysis, then, Kleiber remains my top recommendation for a recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In addition, one should also have the aforementioned EMI studio set \nwith Keilberth, which yet again stars Elisabeth Grümmer as Agathe. While\n not ideal, Rudolf Schock is a major improvement on Hans Hopf; Lisa Otto\n is a fine Aennchen, if not quite in Rita Streich’s league; Karl \nChristian Kohn is a solid Kaspar vocally, though somewhat short on \nmenace; all the smaller roles are cast from strength; and Keilberth \nleads a well-considered though not superlative account of the score. \nWhile this Furtwängler version ranks third behind Kleiber and Keilberth \nas an overall performance, it arguably ranks first for its masterful \nconducting, and is an essential acquisition for that reason—especially \nin this superior new transfer. Despite some caveats about casting in \nminor supporting roles, highly recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO122.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"Despite the joys of the various commercial recordings by Kubelik, Keilberth, \u003cbr\u003eHeger, and Carlos Kleiber, this performance is the one I will most often turn to\"\u003cbr\u003e- Fanfare\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording has appeared on a number of labels, large and small, \nover the years. The present transfer was taken from mint 1982 Italian LP\n pressings on the Fonit Cetra label, and - I believe - presents this \nsuperb performance of\u003cem\u003e Der Freischütz\u003c\/em\u003e in by far the best overall sound it has ever received.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSignificant improvements in the pitch anomalies present in the \noriginal have now been possible, thanks to technological developments \nunavailable to previous restorers, but more than this, the application \nof Pristine's 32-bit XR remastering process has brought forth a rich \ntonal quality and depth that appears to have evaded all previous issues.\n Gone is the often thin, sharp, unappealing sound heard elsewhere - in \nits place the full glory of the Vienna Philharmonic Orchestra under \nmaestro Furtwängler can be fully appreciated at last. Likewise the \nsinging, surprisingly well captured for a stage performance, rings \nthrough clearly and beautifully, with none of the unpleasant hard edge \nto be found in previous issues.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe aim here has been realism, above all. I believe this issue comes \nsignificantly closer to this goal than any that has gone before it.\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\u003eFURTWÄNGLER\u003c\/b\u003e \u003cb\u003eWeber\u003c\/b\u003e: Der Freischütz (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003e Der Freischütz\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOverture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act I: Introduction — Victoria!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act I: O! diese Sonne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act I: Waltz and Aria — Nein! Langer trag' ich nicht die Qualen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act I: Hier im ird'schen Jammerthal\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act I: Schweig!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act II: Schelm! halt fest!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act II: Kommt ein schlanker Bursch gegangen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act II: Wie nahte mir der Schlummer\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act II: Wie Was Entsetzen!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act II: Finale — Die Wolfsschlucht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act III: Entre-Acte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act III: Und ob die Wolke sie verhulle\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act III: Einst traumte meiner sel'gen Base\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act III: Wir winden dir den Jungfernkranz\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act III: Was gleicht wohl auf Erden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Freischütz, Act III: Finale — Schaut, o schaut!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:52)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eElisabeth Grümmer\u003c\/b\u003e – Agathe\u003cbr\u003e\u003cb\u003eRita Streich\u003c\/b\u003e – Aennchen\u003cbr\u003e\u003cb\u003eHans Hopf\u003c\/b\u003e – Max\u003cbr\u003e\u003cb\u003eAlfred Poell\u003c\/b\u003e – Ottokar\u003cbr\u003e\u003cb\u003eKarl Dönsch\u003c\/b\u003e – Kilian\u003cbr\u003e\u003cb\u003eOskar Czerwenka\u003c\/b\u003e – Kuno\u003cbr\u003e\u003cb\u003eKurt Böhme\u003c\/b\u003e – Kaspar\u003cbr\u003e\u003cb\u003eClaus Clausen\u003c\/b\u003e – Samiel\u003cbr\u003e\u003cb\u003eOtto Edelmann\u003c\/b\u003e – A Hermit\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus of the Vienna State Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 26 July 1954\u003cbr\u003eFestspielhaus, Salzburg\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\/PACO122.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO122.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":31975597965,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975598029,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975598093,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975598157,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO122_f0568988-ed66-44df-b1ba-9eaf9b368a34.jpg?v=1487682147"},{"product_id":"pasc305","title":"PFITZNER conducts Overtures (1927-33) - PASC305","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART, WEBER, MENDELSSOHN \u003c\/b\u003e- Overtures\u003cbr\u003e\u003cb\u003eLORTZING, LANNER \u003c\/b\u003e- Overtures\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in Berlin, 1927-33\u003cbr\u003eTotal duration: 64:01\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Hans Pfitzner\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fExpert transfers from Mark Obert-Thorn578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough Hans Pfitzner’s symphonic \nrecordings (Beethoven and Schumann) have been widely circulated on CD \n(Naxos and Preiser), his recordings of shorter works have not, and this \ndisc of early electricals (1927–33) usefully fills a gap. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performances are of variable \nquality: Pfitzner was by all accounts an impressive all-around musician \nbut not the most technically accomplished of conductors, and this \nlimitation is felt more acutely here than on the larger canvases of his \nBeethoven symphony recordings, where his idiosyncratic interpretive \nvision usually survived any shortcomings of technique. The collection \ngets off to a good start with a spirited \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFigaro,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with nicely observed detail and not over-driven. Also impressive is the urgent (8:39), restless, volatile \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHebrides.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Recorded with the Berlin Philharmonic in 1928, its lean \nsonorities—sweet strings and light-toned, vibrato-free wind playing, \nwith fast-speaking articulation—make a fascinating contrast with the \ndark, saturated tonal blend Furtwängler draws from the same players in \nhis own recording of just two years later (Naxos or Koch). \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is bedeviled by constant fussy tempo changes (Pfitzner slows down every\n time for the woodwind figure in eighth notes, then speeds up again), \nand has a crude excision from the recapitulation to accommodate it on \none side. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is rhythmically approximate, with slack, uncoordinated string \nsyncopations in the main theme. It also suffers from crude wind \nreinforcement of the string basses, producing a grotesque honking effect\n in the quiet “Wolf’s Glen” passages. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePreciosa\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJubel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e are spirited enough, if a little scrappy, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is impetuous and exciting, benefiting greatly from the superior playing\n of the Berlin Philharmonic. The Lortzing and Lanner are welcome \nrarities (especially the latter—a real gem!), given affectionate and \nidiomatic performances. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eSo, nothing earthshaking, but an \nenterprising collection that will be of much interest to historic \ncollectors. Expert transfers from Mark Obert-Thorn, and credit to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e colleague Richard A. Kaplan for supplying the original 78s. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC305.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"An enterprising collection that will be of much interest to historic collectors\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePrevious reissues devoted to composer\/conductor Hans \nPfitzner have focused on his recordings of Beethoven and Schumann \nsymphonies, as well as those of his own compositions. This release \nbrings together (for the first time, I believe) his complete \ncommercially-issued electrical recordings of works by other composers – \nmainly overtures, and in one case a waltz.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers were French Polydor \npressings of the two Mozart overtures, the Oberon Overture and part of \nthe Hebrides Overture. The rest of the Hebrides came from a British \nDecca pressing, and the remaining items came from German Polydor or \nGrammophon discs. The Freischütz and Preciosa Overtures were recorded \nusing Brunswick’s “Light-Ray” process. Notorious for the distortion it \nproduced during loud passages, it was quickly abandoned by Polydor.\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\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003ePFITZNER\u003c\/b\u003e conducts Overtures (1927-33)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Le nozze di Figaro – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMozart: Le nozze di Figaro — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 255 BS II\u003cbr\u003eFirst issued on Grammophon\/Polydor 27066\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Così fan tutte – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMozart: Così fan tutte — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 256 BS II\u003cbr\u003eFirst issued on Grammophon\/Polydor 27066\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Der Freischütz – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Der Freischütz — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 320 ½ bi, 321 bi and 322 bi\u003cbr\u003eFirst issued on Grammophon\/Polydor 66545\/6\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Preciosa – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Preciosa — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 323 bi and 324 bi\u003cbr\u003eFirst issued on Grammophon\/Polydor 66544\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Oberon – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Oberon — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 917 bm and 918 bm\u003cbr\u003eFirst issued on Grammophon\/Polydor 95091\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Jubel Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Jubel Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 921 ½ bm and 922 bm\u003cbr\u003eFirst issued on Grammophon\/Polydor 19858\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Hebrides Overture (Fingal’s Cave)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMendelssohn: Hebrides Overture (FingalÆs Cave)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 919 bm and 929 BI I\u003cbr\u003eFirst issued on Grammophon\/Polydor 95372\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLORTZING\u003c\/b\u003e Zar und Zimmermann – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLortzing: Zar und Zimmermann — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 1627 BM I and 1628 BM I\u003cbr\u003eFirst issued on Grammophon\/Polydor 27069\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLANNER\u003c\/b\u003e Pestherwalzer, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLanner: Pestherwalzer, Op. 93\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 5294 ½ BD 3 and 5295 ½ BD 3\u003cbr\u003eFirst issued on Grammophon\/Polydor 10133\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates\u003c\/b\u003e\u003cbr\u003e1927 (3, 4)\u003cbr\u003e1928 (5, 6, 7)\u003cbr\u003e1929 (1, 2, 7, 8)\u003cbr\u003e1933 (9)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e (1-4, 8, 9)\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e (5-7)\u003cbr\u003econductor\u003cb\u003e Hans Pfitzner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in Berlin, 1927-33\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Hans Pfitnzer by Wanda von Debschitz-Kunowski, ca 1910\u003cbr\u003eSpecial thanks to Richard Kaplan for providing source material\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 64:01\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\/PASC305.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC305.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":32481546061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32481546317,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC305_88e42d1c-1790-428e-8261-d87ee7a46e53.jpg?v=1487689732"},{"product_id":"pasc454","title":"TOSCANINI The Final New York Philharmonic Concert (1945) - PASC454","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No.101\u003cbr\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e The Pines of Rome\u003cbr\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e The Swan of Tuonela\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Siegfried's Funeral Music\u003cbr\u003e\u003cb\u003eWEBER\u003c\/b\u003e Euryanthe Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive recording, Carnegie Hall, 1945\u003cbr\u003eTotal duration: 79:53\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003ePhilharmonic Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThese are examples of orchestral playing and interpretation which demand to be heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis in-house recording of the \nJanuary 13, 1945 Pension Fund Concert at New York’s Carnegie Hall may \nprove to be the last available treasure we have of a unique \ncollaboration. Andrew Rose has put us once again in his debt with an XR \nremastering of surprisingly good, but rough, source material. Toscanini,\n who had first recorded with the orchestra in 1926, before becoming \nmusic director, made no studio recordings with them after his departure \nfrom that post in April 1936. Little has circulated from guest \nappearances (there was a complete Berlioz \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with Jennie Tourel included among the soloists, but it is seemingly unavailable). This concert was valedictory, and farewell. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe commercial recordings which \nToscanini made when it was “his” orchestra total less than three and \none-half hours—a shockingly small legacy considering the orchestra’s \nexcellence and the conductor’s stature during his lifetime. One, from \n1929, is the Haydn Symphony included here. This wartime program \nreplicates Toscanini’s 1926 debut with the orchestra. The Haydn was \nrecorded in the studio about three years after that first concert. \nAlthough the two performances are easily identified as the work of the \nsame conductor, there are differences. The Carnegie Hall sound in \nPristine’s remastering has more impact, if less suavity, than the early \nelectrical product of RCA. I would say part of that greater suavity is \nalso in the orchestral playing. The Philharmonic-Symphony, as it was \nthen called, was a more refined band in the late 1920s and 1930s than \nlater on, or today. Mengelberg’s tenure, followed by two seasons in \nwhich the Dutch conductor, Furtwängler, and Toscanini shared the podium,\n and then the Italian maestro’s incumbency, had created a remarkably \nsensitive orchestral machine. By 1945, it was Artur Rodziński’s \norchestra, and although most of Toscanini’s players had survived the \nBarbirolli years, a combination of World War II absences, Rodziński’s \npersonnel changes, and the personality of the Dalmatian-born Polish \nconductor had changed the orchestra palpably. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSo, while the 1945 Haydn strikes my ear\n as excellent of its style, and it surely benefits from inclusion of the\n first movement exposition repeat, absent from the earlier recording, it\n is not the same orchestra, quite, as that which Toscanini had led \nbefore. Critic Olin Downes still thought the Haydn the best played \nportion of this concert (I don’t entirely agree) and it is surely very \nwell done: a bracing performance of a composer Toscanini loved. The same\n may be said for the Respighi which, I believe, had its first New York \nhearing at the 1926 concert. Downes, who often seemed stuffy in “his” \nday, to say nothing of ours, found it bad music but bad in a glorious \nway. This performance seems to me to be extremely refined. Sonically, it\n is the least successful part of the concert, not poor, but lacking the \nquite amazing clarity of the Haydn, Sibelius, and Wagner selections, in \nparticular. In this work, also, I prefer the Carnegie Hall recording \nmade just over eight years later in the same hall with the NBC Symphony,\n utilizing RCA’s then best single-mike technique. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAside from sonics, I find the later \nrecorded performance seems to have a better over-arching grip on the \npiece. Interestingly, timings are identical, and for those who love the \nwork, and also who love the unique qualities of both orchestras, it is \ninteresting to compare the sound of the NBC’s Harry Glantz with the \nPhilharmonic’s first trumpet, William Vacchiano, and also the really \ndelightful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efrisson\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the Philharmonic’s lower strings—and also timpani at numerous points\n where Respighi makes subtle use of them. Those come through very well; \nindeed, the sound improves, I should say, throughout the tone poem. The \nremastering is exceptional, as well, following intermission, \nparticularly in the Sibelius and Wagner selections. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eToscanini did not play a huge repertory\n of Sibelius compositions, but was clear in his respect for the composer\n and performed several works, particularly in his NBC years. This \nperformance of the ubiquitous “Swan” strikes me as fine as any I have \never heard—10 minutes in which time all but stands still. The sound \ncomes up fresh, and one hears playing of intense concentration. Even \nmore focused orchestral playing is heard the Wagner which follows. \nConductor and orchestra had recorded, in 1936, near the end of \nToscanini’s tenure as music director, a matchless performance of \nSiegfried’s Rhine Journey but the Funeral Music was not, for some \nreason, recorded at that time. What we have here is entirely worthy to \nstand with that studio effort, and is amazingly impactful in Pristine’s \nXR sonics. It is a stunning performance, nearly a quarter-hour of Wagner\n as we seldom hear it performed today. After the Wagner, I am not so \nsure closing with the exuberant Weber was the best of ideas, but that \nwas the way programs were made nine decades ago and replicated at this \nconcert. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWe have so little else; there could \nhave been much more. There is a Beethoven Fifth from the 1930s which \nmany value highly; a Bruckner Seventh which confirms the conductor was \nwise to perform that composer seldom. The remarkable 1935 Beethoven \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa Solemnis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n has been four times remastered by Richard Caniell. The concert closing \nthe 1936 season is said to have been captured—all Wagner, including \nGertrude Kappel in the Immolation Scene. To my knowledge, it has not as \nyet surfaced. May we hope? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis distinguished release is not \nmerely a period piece. These are examples of orchestral playing and \ninterpretation which demand to be heard, and which, fortunately, we can \nhear with remarkable clarity in Pristine’s offering; this one is \nurgently recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC454.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e \"A stunning performance ...  urgently recommended\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen Toscanini took to the podium at Carnegie Hall on the evening of \n13 January 1945 he was to conduct the Philharmonic-Symphony Orchestra of\n New York (now known simply as the New York Philharmonic Orchestra) for \nthe very last time. He opted to repeat the programme he had conducted in\n his debut with the orchestra almost exactly 19 years earlier, on 14 \nJanuary 1926. He had conducted the orchestra a dozen times in the 1942 \nseason, after his Gala Farewell concert of April 29, 1936, and once more\n in 1944 as part of a combined Red Cross concert in Madison Square \nGarden with the NBC Symphony Orchestra, but this really was his last \nfarewell to the orchestra: a special one-off concert in aid of the \norchestra's pension fund.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe concert was not broadcast live, and as a result it is unclear as \nto exactly where our source recording originated. It was clearly an \nin-house recording, cut onto acetate discs, and there is a suggestion it\n may have been made for Toscanini's personal use. It is also possible \nthat the concert was broadcast overseas as part of the war effort. The \nsource discs themselves varied in quality - the opening of the Haydn in \nparticular suffered surface damage that I've tried to ameliorate at much\n as possible. Elsewhere a wide frequency range and clear sound has been \npossible with the acceptance of slightly higher background hiss than I \nwould normally aim for - attempts to reduce this further caused \nunacceptable musical quality loss. I have also had to keep applause down\n to a bare minimum in order to squeeze the entire concert onto a single \nCD - these performances were very well received indeed!\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eTOSCANINI\u003c\/b\u003e The Final \u003cb\u003eNew York Philharmonic\u003c\/b\u003e Concert (1945)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 101 in D major, \"Clock\", Hob 1:101\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuet (Allegretto) — Trio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Finale (Vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e Pines of Rome\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Pines of the Villa Borghese\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Pines Near a Catacomb\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Pines of the Janiculum\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Pines of the Appian Way\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e Lemminkäinen Suite, Op. 22 - 2. The Swan of Tuonela\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSibelius: Lemminkäinen Suite — 2. The Swan of Tuonela\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Götterdämmerung - Siegfried's Death and Funeral Music\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWagner: Siegfried's Death and Funeral Music\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Euryanthe, Op. 81 - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Euryanthe Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:48)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive at Carnegie Hall, New York, 13 January 1945\u003cbr\u003eIn-house acetate disc recordings\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e, conductor\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\/PASC454.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC454.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":31976044813,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976044877,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976045005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976045133,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC454_678daec8-bfca-4cac-938c-39ef2d39cf66.jpg?v=1487682703"},{"product_id":"pasc469","title":"WALTER Standard Hour: Haydn, Mozart, Wagner, Weber (1954) - PASC469","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Prelude\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eEt incarnatus est\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eEine Kleine Nachtmusik\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eThe Seasons - excerpts\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eOberon - Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recording, 1954\u003cbr\u003eTotal duration: 55:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSan Francisco Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again, Pristine has produced a winner; enthusiastically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI think this is the first time I’ve \never been quoted as (in effect) promoting a release before its \npublication! Knowing of my devotion to Bruno Walter, Andrew Rose of \nPristine Audio forwarded to me an advance sound clip for this planned \nissue of a complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eStandard Hour\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n NBC Radio broadcast. I sent an enthusiastic email reply, and lo and \nbehold part of it appeared as a promotional blurb on the release \nannouncement that also is printed on the CD front tray insert card. Not \nthat I’m complaining, mind you; I’m both amused and flattered. For the \nrecord, here it is: “It’s especially welcome because Walter’s live \nperformances of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEine kleine Nachtmusik\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are much superior to his studio recordings, which with but one \nexception (Vienna 1936) are disappointingly wooden and heavy. This has \nreal life to it!” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnd, yes, I stand behind that statement\n 100 percent. I still have the dim-sounding bootleg Italian CLS LP that \nalso contains this concert—though not for much longer, as this \nsplendidly remastered version from a much superior source makes the \nvinyl version sound positively ludicrous by comparison. The sound \nquality here is that of a good, clear monaural radio broadcast from its \nera. While—as one already knows from Pierre Monteux’s 78-rpm \nrecordings—the San Francisco orchestra at that time was nowhere near as \ntechnically polished an ensemble as it is today, its members are \nobviously responsive to Walter’s baton and play expressively for him. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe program is a mixture of three \nWalter favorites and two novelties. Walter left us six performances of \nthe Parsifal act I Prelude: three studio recordings, from 1925 and 1927 \n(both with the Royal Philharmonic) and 1959 (with the Columbia Symphony \nOrchestra in its West Coast incarnation, and coupled with the act III \nGood Friday Spell music), and three live performances, with the Los \nAngeles Standard Symphony (June 19, 1949), the New York Philharmonic \n(December 28, 1952), and this one from 1954. The New York performance is\n the slowest (14:00), followed by the CSO studio account (12:51); the \n1927 RPO version is the fastest (11:04), with the other three coming in \nat 11:52 (RPO in 1925) and 12:15 (both live California performances). \nCalifornia seemed to hold the magic spell for Walter in this score; the \ntwo early British electrics suffer from dated sound, and the live New \nYork performance (which has only been released in misdated issues on \nolder bootleg Italian CD labels) has not enjoyed a proper remastering \nbut seems to suffer from a bit of stasis rather than timelessness. While\n the 1959 studio recording claims pride of place, both sonically and \ninterpretively, the two live performances from 1949 and 1954 are very \nfine and may appeal more to those who prefer more forward movement in \nthis score. They are of about equal merit, though I subjectively have a \nslight preference for Los Angeles here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn my review of Walter’s 1950 Stockholm\n concerts in 39:5, I provided a table of Walter’s seven \nperformances—four studio efforts and three live ones—of the Mozart \nSerenade and discussed them in some detail there. In that review, not \nknowing of this impending release, I awarded the Stockholm performance \nthe palm in the Walter discography. However, with its refurbished sonics\n this account now arguably takes precedence instead, having both \nsignificantly better recorded sound and just a touch more energy in the \nfinale despite virtually identical timings in all four movements. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture there are four surviving renditions by Walter: a 1931 Berlin \nPhilharmonic performance on film; an NBC Symphony broadcast in very \ntinny Studio 8-H sound from March 18, 1939; a Los Angeles Standard \nSymphony broadcast, again from June 19, 1949; and this one. The timings \nare virtually identical—8:27, 8:36, 8:19, and 8:22 respectively—and, as \nthat suggests, the interpretation remains virtually unchanged over 23 \nyears. Walter was a superb Weber conductor (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n a favorite opera of his, and it is a great pity we do not have a \nsurviving recording of any part of it beyond the Overture from him), and\n his account of this overture fully captures both its ardent Romantic \nlyricism and almost puckish humor. In this instance the present San \nFrancisco account is the clear favorite, with superior sound and more \nexpressive shaping of phrases. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe two novelties are the arias from \nthe Mozart Mass and Haydn oratorio, the latter sung in English rather \nthan German. Information about soprano Brunetta Mazzolini is rather \nscanty: I have not been able to find dates of either birth or death for \nher, but she was presumably born around 1930. A native of Portland, OR, \nshe was trained at the Curtis Institute in Philadelphia and won the \nMetropolitan Opera regional audition for the Northwest in Seattle on \nJanuary 5, 1958; Lotte Lehmann wrote a letter of recommendation on her \nbehalf, but she apparently never made it onto the stage in New York. She\n made her career primarily on the West Coast; online census data records\n I could not fully access indicate that she married and later divorced. \nBy 1954 she was singing under Bruno Walter in San Francisco, and later \nin Chicago, in the Brahms\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e German Requiem \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n Mozart Requiem among other works. (She also sang the Mahler Fourth \nSymphony, though not with Walter, but he surely coached her in the \npart.) Her voice was that of a light soprano, brilliant in texture and \nwell produced (think of Hilde Güden), with fine diction and intonation; \none can see why Walter took her under his wing, and one wishes that more\n of her artistry was preserved. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, then, we have here a fine \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eParsifal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Prelude, the preferred recordings in Walter’s discography of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture and the Mozart Serenade, plus the additions to the conductor’s\n discography on CD of two unique arias with a quite fine soprano \nsoloist, all presented with Pristine’s usual excellence in restoration \nof historical recordings. As usual with this label, the disc comes with \nonly a list of contents and a brief liner note. Once again, Pristine has\n produced a winner; enthusiastically recommended to both fellow \nWalterians and to collectors of historic orchestral broadcasts in \ngeneral. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eNBC Radio’s Standard Hour Broadcast \nNo.1410 preserved a 56-minute performance given by guest conductor Bruno\n Walter and the San Francisco Symphony on 18 April 1954. The broadcast \nis topped and tailed by a preserved introduction and radio close, spoken\n by the announcer John Grover, something that always strikes me as \nenshrining the true atmosphere of the event.\u003cbr\u003e \u003cbr\u003e Given the timing \nconstraints the programme is somewhat bitty, though two substantial \norchestral pieces frame the concert. The first is the Prelude to \nParsifal, a work that was long established as part of his discography. \nThe best-known example, coupled with the Good Friday music, was to come a\n few years later in 1959 when he directed the Columbia Symphony. Other \nperformances though have survived, not least in New York in 1952 and \nwith the Los Angeles Standard Symphony in 1949, which was revived by \nMusic \u0026amp; Arts. Two of the more discographically venerable, however, \nand these are of particular interest to Walterites, are the London 78s \nmade in 1925 and 1927, when he directed the orchestra of the Royal \nPhilharmonic Society. This San Francisco reading – which was released on\n LP (CLSRPOL2031) – is moulded with distinguished lyricism and control. \nThough powerful in impression, it’s kept moving phrasally and with \nacutely judged rubati. Timings are deceptive here; post-performance \nspeech bloats the track listing – Walter actually takes it in 12:20.\u003cbr\u003e \u003cbr\u003e\n The other larger work is the piece with which he ends the performance, \nthe overture to Oberon, which is also on the LP noted, as well as having\n been released on AS Disc. Verdant and full of brio it takes an honoured\n place alongside his earlier recordings with the NBC and LAPO. Soprano \nBrunetta Mazzolini was clearly a local favourite and had appeared on \nStandard Hour broadcasts before: at the time of this one she was on the \nstaff at Portland. Importantly, Walter left behind no studio recordings \nof Mozart’s Mass in C minor, so this is a tantalising glimpse of the \u003cem\u003eEt Incarnatus est\u003c\/em\u003e.\n Mazzolini has a fine technique, and her voice is bright and relatively \nlight. Again Walter didn’t conduct Haydn’s The Seasons in the studio so \nonce again Mazzolini’s singing of two movements is all we have. Once \nmore she evinces fine, focused singing, in English. This too was on the \nnow rare LP noted as well as having been issued on a Japanese Bruno \nWalter Society LP.\u003cbr\u003e \u003cbr\u003e Perhaps surprisingly, and despite these discographical novelties, it’s the most superficially hackneyed of the works, \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e\n that proves the most quietly revelatory. It’s full of the most charming\n subtlety and warmth, and fully ranks alongside his pre-war Vienna \nperformance. There’s not the tiniest hint of routine in this delightful \nreading.\u003cbr\u003e \u003cbr\u003e Whether this will sway you to buy this disc depends on\n the depth of your allegiances to the conductor. The novelties here – \nthough relatively brief - will certainly be tempting to the \ntightly-focused collector.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cem\u003eMusicWeb Internat\u003c\/em\u003e\u003cem\u003eional\u003c\/em\u003e\u003cb\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC469.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Full\n of the most charming subtlety and warmth, and fully ranks alongside his\n pre-war Vienna performance\" - MusicWeb International\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHaving previously appeared as a guest conductor on NBC Pacific's \nStandard Hour programme, Bruno Walter found himself back on the air on \n18 April 1954 with the San Francisco Symphony Orchestra and guest \nsoprano Brunetta Mazzolini - just four days before conducting the \norchestra (and Mazzolini) in their first ever performance of Brahms' \u003cem\u003eA German Requiem\u003c\/em\u003e.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough sections of this concert may have appeared briefly before, I\n understand that the high fidelity sound quality heard on this release \nsets it apart from previous outings by a considerable distance. Here we \npresent the concert in its entirety as broadcast. It also has great \nmusical value, as Fanfare's assistant editor James A. Altena explains: \n\"It's especially welcome because Walter's live performances of \u003cem\u003eEine kleine Nachtmusik\u003c\/em\u003e\n are much superior to his studio recordings, which with but one \nexception (Vienna 1936) are disappointingly wooden and heavy.  This has \nreal life to it!\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording benefits from clear, clean and bright sound, with full \nand well-rounded orchestral tone - and a quiet and unobtrusive audience.\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\u003eWALTER\u003c\/b\u003e Standard Hour: \u003cb\u003eHaydn\u003c\/b\u003e, \u003cb\u003eMozart\u003c\/b\u003e, \u003cb\u003eWagner\u003c\/b\u003e, \u003cb\u003eWeber\u003c\/b\u003e (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eStandard Hour — Radio Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Parsifal - Prelude\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWagner: Parsifal — Prelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:20)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Mass in C minor, K.427 - Et incarnatus est\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMozart: Mass in C — Et incarnatus est\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003e Eine Kleine Nachtmusik, K.525\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(4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Romanze\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Rondo\u003c\/span\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: 18px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003e The Seasons, Hob. XXI:3:\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOh welcome now\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOh how pleasing to the senses\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Oberon - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Oberon — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eStandard Hour — Radio closing\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eBrunetta Mazzolini, \u003c\/i\u003e\u003c\/b\u003e\u003ci\u003esoprano\u003c\/i\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003eOh welcome now\u003cbr\u003eOh how pleasing to the senses\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eBrunetta Mazzolini, \u003c\/i\u003e\u003c\/b\u003e\u003ci\u003esoprano\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eStandard Hour #1410\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast from the War Memorial\u003cbr\u003eOpera House, San Francisco\u003cbr\u003eon 18 April, 1954\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSan Francisco Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\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\/PASC469.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC469.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":31976080205,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976080269,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976080333,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC469_72a4c6ac-6ec8-4444-a182-3a841a0ee451.jpg?v=1487682759"},{"product_id":"pasc482","title":"WALTER The Complete Acoustic Columbia Recordings (1924-25) - PASC482","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003e Der Freischütz – Overture\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003e A Midsummer Night’s Dream – Nocturne\u003cbr\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003e The Damnation of Faust – Minuet of the Will-o’-the-Wisps\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Tristan und Isolde – Liebestod\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eDie Meistersinger – Prelude to Act 3\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Götterdämmerung – Siegfried’s Rhine Journey\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Siegfried Idyll\u003cbr\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003e Death and Transfiguration\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1924-25\u003cbr\u003eTotal duration: 76:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDespite the primitive nature of the horn recording, these are especially important examples of Walter’s art578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAll of Bruno Walter’s 1924-25 acoustic Columbia recordings fit into this\n handy 76-minute disc. They were made at the company’s Petty France \nstudios in London, which was not always the most responsive environment \nfor large-scale acoustic recording but which managed to yield a good \nreturn over the years. And the A\u0026amp;R men chose repertoire wisely, \nencouraging Walter to record Wagner, Strauss, Weber, Berlioz and \nMendelssohn; he had just starred in Covent Garden’s German Season \ndirecting the Ring, \u003cem\u003eTristan,\u003c\/em\u003e and \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e. \nIndeed, despite the primitive nature of the horn recording, these are \nespecially important examples of Walter’s art as he never returned to \nthe studio to record the Tristan \u003cem\u003eLiebestod\u003c\/em\u003e, the \u003cem\u003eMidsummer Night’s Dream\u003c\/em\u003e music or the Berlioz excerpt.\u003cbr\u003e \u003cbr\u003e Weber’s overture to \u003cem\u003eDer Freischütz\u003c\/em\u003e,\n which was only issued in America, can be heard over two sides. There \nare the usual bass reinforcements and the strings slither about as was \nthen fashionable – especially noticeable in the ad-hoc British set-up of\n the time – but the direction is authoritative. I assume one of the \nBrain family was drafted in for the Mendelssohn \u003cem\u003eNocturne\u003c\/em\u003e on a freelance basis whilst the Berlioz goes vey agreeably. The \u003cem\u003eLiebestod\u003c\/em\u003e\n sees the strings on so-so form and the winds’ intonation wanders - \nthere’s a degree of pitch battling to be heard. Just before they \nrecorded the \u003cem\u003eTristan\u003c\/em\u003e extract Walter and the band tackled the Prelude to Act III of \u003cem\u003eDie Meistersinger\u003c\/em\u003e\n and here one can hear the first desk fiddles sawing happily away – this\n was the band known as the Royal Philharmonic Orchestra, though it was \nmuch earlier than Beecham’s orchestra of the same name. One wonders how \nmuch rehearsal time was available as ensemble is approximate and the \nstygian bass reinforcements sound very treacly. But of enthusiasm \nthere’s no shortage.\u003cbr\u003e \u003cbr\u003e Most of these pieces had already been recorded by 1924 and that goes for \u003cem\u003eSiegfried’s Rhine Journey\u003c\/em\u003e. In fact, Walter’s was not even the first British recording as Percy Pitt had made a disc of it back in 1921. The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e\n took up four sides of two 78s. Walter does little actively to resist \nthe lashing of sentimental portamenti, mostly – thankfully – uniform. \nThough the bass reinforcements tend to glue it down and prohibit maximum\n flow, it’s an endearing reading and can be listened to in the context \nof the near-simultaneous recordings of the piece made by Albert Coates, \nLeo Blech and Siegfried Wagner’s own recording. The other major \nundertaking is the last, Strauss’s \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e \nwhich stretches 21 minutes. This must have been suggested because of \nWalter’s operatic prestige in Strauss. Perhaps surprisingly Columbia was\n a Johnny-come-lately as Abendroth, Coates and Eduard Mörike had all \nrecorded it by then. Walter’s searing reading is hindered only by the \ncircumstances of the recording and the unfamiliar orchestra.\u003cbr\u003e \u003cbr\u003e \nThis is a valuable corpus of recordings, splendidly transferred. As I’ve\n noted before Pristine is doing worthwhile work on behalf of Bruno \nWalter’s early recording career, which has long been overlooked in the \nworld of sonic restoration.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC482.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"This is a valuable corpus of recordings, splendidly transferred\" - MusicWeb International\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough Bruno Walter claimed late in life that he had made his first\n recordings around 1900, his earliest documented discs date from 1923 \nwhen he began a series for Grammophon\/Polydor in Berlin, most of which \nhave been reissued on Pristine PASC 142 and PASC 322.  In May, 1924, \nWalter was in London for the first presentation of a German opera season\n at Covent Garden since the end of the Great War.  That month, he \nconducted Wagner’s \u003cem\u003eRing\u003c\/em\u003e cycle, \u003cem\u003eTristan und Isolde\u003c\/em\u003e, and Strauss’ \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e\n in enthusiastically-received productions featuring Frida Leider in her \nCovent Garden début, Lauritz Melchior, Friedrich Schorr, Lotte Lehmann \nand Elisabeth Schumann.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOn May 22, Walter entered the Columbia studios at Petty France to \nmake the first in a series of discs for a label with which, on one side \nof the Atlantic or the other, he would be associated for much of the \nrest of his life.  A \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was recorded that day, followed by the first three sides of Strauss’ \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e the following day; however, neither was approved for release. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt would not be until the following December that Walter, who had \nreturned to London to conduct the (old, pre-Beecham) RPO in a \nperformance of Elgar’s First Symphony in the presence of the composer, \nwould be back in the Columbia studios.  Over the next five days, he \nwould preside over four recording sessions, one of which was devoted to a\n single title (Mozart’s \u003cem\u003eMarriage of Figaro\u003c\/em\u003e Overture) which \nultimately remained unissued.  Four further sides would be recorded the \nfollowing February before the microphone supplanted the old acoustic \nmethod of recording.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe present collection brings together all of Walter’s published acoustic Columbias.  It includes one recording (Weber’s \u003cem\u003eFreischütz\u003c\/em\u003e Overture) which was only released in America, as well as two which were only published in Britain (the “Rhine Journey” and \u003cem\u003eSiegfried Idyll\u003c\/em\u003e).  A further recording of “Siegfried’s Funeral Music” from \u003cem\u003eGötterdämmerung\u003c\/em\u003e which came out on American Columbia credited to Walter was actually conducted by Hamilton Harty.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe repertoire chosen largely follows the composers and even some of \nthe particular works with which Walter was making a name for himself at \nCovent Garden at the time – much Wagner, along with Strauss – and \nincludes several works to which Walter would not return again in the \nstudio (the Mendelssohn, Berlioz and the \u003cem\u003eTristan \u003c\/em\u003e“Liebestod”). \n The playing of the orchestra is variable, both in ensemble and pitch; \nand some of the tempi seem a bit speeded up in order to get the music \nonto a single side (particularly in the Mendelssohn and the \u003cem\u003eMeistersinger\u003c\/em\u003e\n Prelude).  Elsewhere, though, Walter is given the opportunity to take \nas long as he wants, with the Weber overture spread over three sides, as\n it would not be in his Paris remake fourteen years later, and the \n“Liebestod” generously given two 12-inch matrices for its six-minute \nduration.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe transfers for this release drew wherever possible upon American \nColumbia “New Process” pressings (for the Weber, Mendelssohn, Berlioz, \nStrauss and Wagner “Liebestod”) which featured the most (relatively) \nquiet surfaces available, and English Columbia discs for the remainder. \n From its original release onward through all modern discographies I’ve \nseen, the Berlioz has always been misidentified as the “Dance of the \nSylphs” rather than as the “Minuet of the Will-o’-the-Wisps”, to which \nit has been corrected here.  \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eWALTER\u003c\/b\u003e The Complete Acoustic Columbia Recordings (1924-25)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Der Freischütz, Op. 77 – Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 December 1924 ∙ Matrices: AX 795-3, 796-1 \u0026amp; 797-2 (Am. Columbia 67082\/3-D)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN A\u003c\/b\u003e Midsummer Night’s Dream, Op. 61 – Nocturne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 881-2 (Columbia L 1651)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e The Damnation of Faust, Op. 24 – Minuet of the Will-o’-the-Wisps\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 5 December 1924 ∙ Matrix: AX 794-1 (Columbia L 1623)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Tristan und Isolde – Liebestod\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 February 1925 ∙ Matrices: AX 879-1, 880-2 (Columbia L 1652)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger von Nürnberg – Prelude to Act 3\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 878-2 (Columbia L 1651)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWAGNER Götterdämmerung – Siegfried’s Rhine Journey\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 December 1924 ∙ Matrices: AX 798-2, 799-2 (Columbia L 1636)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Siegfried Idyll\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 \u0026amp; 5 December 1924 ∙ Matrices: AX 782-1, 783-1, 789-2 \u0026amp; 790-2 (Columbia L 1653\/4)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Death and Transfiguration, Op. 24\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(20:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 5 December 1924 ∙ Matrices: AX 787-1, 788-2, 791-2, 792-2 \u0026amp; 793-1 (Columbia L 1621\/3)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAll recordings made in the Columbia Petty France Studio, London\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC482.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC482.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"16-bit FLAC","offer_id":31976081997,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps MP3","offer_id":31976082061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC482.jpg?v=1487682762"},{"product_id":"pasc454-cd","title":"TOSCANINI The Final New York Philharmonic Concert (1945) - PASC454 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976455501,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC454_bb803b47-1817-4ef7-9c18-1d45cc9d1b77.jpg?v=1658743028"},{"product_id":"pasc469-cd","title":"WALTER Standard Hour: Haydn, Mozart, Wagner, Weber (1954) - PASC469 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976496333,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC469_08fe359b-e6cb-4fc2-8535-44835b7a320e.jpg?v=1658743341"},{"product_id":"pasc482-cd","title":"WALTER The Complete Acoustic Columbia Recordings (1924-25) - PASC482 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976520845,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC482_6e45951d-9db8-4b15-8ea0-08b978021037.jpg?v=1658743766"},{"product_id":"paco122-cd","title":"FURTWÄNGLER Weber: Der Freischütz (1954) - PACO122 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":31976571533,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO122.jpg?v=1658496110"},{"product_id":"pasc492","title":"WALTER Rarities, Volume Two (1923-1938) - PASC492","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e Roman Carnival Overture\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Parsifal Act I Transformation Music\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Siegfried Idyll\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Le Nozze di Figaro – Overture\u003cbr\u003e\u003cb\u003eMOZART\u003c\/b\u003e Eine Kleine Nachtmusik\u003cbr\u003e\u003cb\u003eHANDEL\u003c\/b\u003e Concerto Grosso In B Minor\u003cbr\u003e\u003cb\u003eWEBER\u003c\/b\u003e Der Freischütz – Overture\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1923-38\u003cbr\u003eTotal duration: 72:28\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART FESTIVAL ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBritish Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eParis Conservatoire Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEnthusiastically recommended to all fellow Walterians578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHistoric reissue labels such as Pristine Audio \noften issue certain releases solely as a labor of love or for singular \ndocumentary value, knowing that their efforts will often be rewarded \nwith but a handful of sales. But one must especially admire Andrew Rose \nand Mark Obert-Thorn for going ahead with this release, which despite \nits merits may not even break into double digits for purchases of it. \nThe contents are a true odds-and-ends miscellany of performances by \nBruno Walter, with the mix containing two items of particular \nimportance.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first of these is the 1923 recording of Berlioz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe carnaval romain Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which was overlooked when Pristine previously issued three CDs of \nWalter’s acoustics. Within the severe sonic limitations of its vintage \nit is a fine performance, and reminds one of just what an insightful \nconductor of Berlioz Walter was. Beyond that, however, this release \nmarks a historic milestone; excepting a possible separate acoustic \nrecording of the scherzo from Tchaikovsky’s “Pathétique” (it is \ngenerally presumed, but not certain, that it was recycled into the \ncomplete recording of the symphony that Walter made shortly thereafter),\n every officially released studio recording made by Walter has now been \nissued on CD. Ideally, I might wish that Pristine would have reissued \none of the first two discs in this series with this overture added \nin—there would be space for it on either one—but given that except for \nPristine’s doughtiness several of Walter’s acoustics would not be \navailable on CD, I’m not looking a gift horse in the mouth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other especially noteworthy item is the first-ever release of a recording of the overture to Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe nozze di Figaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethat Walter made in Paris (with the Paris Conservatory Orchestra under a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enom de plume\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n in 1928. It originally was to have been a filler to what was planned as\n seven sides for a recording of Schumann’s Symphony No. 4, but when that\n took up eight sides on its own instead, plans to issue the overture \nwere scrapped. This one pressing is known to have survived, and a \npersonal background story goes with it. Over 30 years ago, it popped up \nfor sale in the hands of the well-known British record dealer Raymond \nGlaspole, with whom I was briefly in contact at that juncture. The \nasking price for such a rarity was far beyond my means then, as a \ntypical financially hand-to-mouth graduate student. I wrote him to ask \nif by any chance he could run off a cassette copy of the disc for me \nbefore selling it, and he most kindly did so. I’ve had that cassette in \nmy private collection ever since, hoping that at some point its contents\n might see the light of day more generally, and lo and behold the disc \nitself has now resurfaced to that end. I have never forgotten that \nexceptional gesture of gracious generosity. I see that Mr. Glaspole is \nstill alive and active, with his own website; I hope that this review \nwill come to his attention, so that he can once again accept my \nexpression of deep appreciation.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remaining contents of this release were chosen\n simply because they are among Walter’s more scarce recordings in terms \nof circulation, both on 78s and CDs. In his accompanying notes to this \nrelease, Obert-Thorn expresses “a particular affection” for this, the \nfirst of Walter’s four studio recordings of the Mozart Serenade (three \nlive performances are also extant). I do not share that inclination, and\n rank this rendition far below the conductor’s 1936 Vienna remake and \nthe live accounts from Stockholm (1950) and San Francisco (1954). In my \nreview back in 40:3 of Pristine’s release of Walter’s complete acoustics\n for Columbia, I provided a list of his 13 surviving performances of \nWagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried Idyll\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (more than for any other work in his repertoire), six studio and seven \nlive. There, based on my EMI Japan issue, I gave the timing for this \n1926 rendition as 17:34; in Obert-Thorn’s remastering here it is only \n17:03. As I trust Obert-Thorn’s work implicitly I’m confident he and not\n EMI Japan is correct; even so, it still ranks among the slowest of the \nconductor’s traversals of the score, especially relaxed and sunny. While\n it is not about to displace the 1953 New York Philharmonic studio \naccount as the finest version by Walter (or by anyone ever, for that \nmatter), it is very much worth having in its own right. The 1925 act I \nTransformation Scene from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eParsifal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was originally a filler side to the act I Prelude; Walter rerecorded \nall four sides just two years later, along with an orchestral \narrangement of Klingsor’s Magic Garden and the Flower Maidens’ Music \nfrom act II. Why remains a mystery to me, as the sound is not \nappreciably better, and the earlier interpretation is to my mind \nsuperior; but the latter set immediately displaced the earlier one. \nSince the 1925 recording of the Prelude was issued on CD by VAI (albeit \nalmost 20 years ago), Rose and Obert-Thorn elected to include only this \nfiller side here and save the extra space for a different Walter rarity.\n   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWalter did keep a handful of Baroque pieces in his\n active repertoire: Corelli’s “Christmas” Concerto (recorded in the \nstudio in 1938, with three live performances also surviving from 1939, \n1947, and 1948), Handel’s Concerto grosso op. 6\/6 (preserved in a 1940 \nNBC Symphony broadcast), and the 1938 studio version of the Concerto \ngrosso, op. 6\/12, presented here. Interpretively it is a forward looking\n account for its time, with lively tempos and, remarkably, use of \nharpsichord continuo (most likely but not certainly played by Walter \nhimself). The disc closes with Walter’s 1938 Paris remake of the \nOverture to Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n of which he originally made an acoustic recording in London early in \n1925 (a live 1950 performance with the Los Angeles Standard Symphony \nalso survives). Whereas the earlier London account is spread over three \nsides and requires a fairly typical 10-plus minutes to traverse, this \nrendition was issued on only two sides and comes in at a \nhell-for-leather 8:51. The orchestral playing is somewhat scrappy, but \nit’s an exciting if wild ride.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always, Obert-Thorn’s transfers are exemplary. \nWhile this disc will by its nature only interest the most avid Walter \nenthusiasts, I hope that there are a sufficient number of those reading \nthese pages who will order a copy and make this venture unexpectedly \nworthwhile financially for proprietor Rose. Enthusiastically recommended\n to all fellow Walterians. \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 A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC492.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    While the first volume in this series (PASC 452) focused on Bruno Walter’s\n    American years, here we turn the clock back to his pre-war European\n    recordings. Like that earlier release, the emphasis is on presenting items\n    which have had scant, if any, CD availability. Many of the selections here\n    have been reissued in Japan and some in France, in releases that have had\n    spotty availability elsewhere. One performance is published here for the\n    first time.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The \u003cem\u003eRoman Carnival\u003c\/em\u003e Overture, one of Walter’s earliest recordings,\n    was inadvertently omitted from Pristine’s two volumes of his acoustic\n    Polydors (PASC 142 and PASC 342), and presents a work to which he would not\n    subsequently return in the studio. The \u003cem\u003eParsifal\u003c\/em\u003e excerpt comes from\n    a mere two years later; yet, the difference between the old acoustic\n    process and the new electrical technology makes it seem like an eon has\n    passed.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e dates from the following year, and again the\n    sonic comparisons between this and the acoustic version Walter made two\n    years earlier with the same ensemble (on PASC 482) are striking. By this\n    time, Columbia was apparently imposing a four-minute limit to its\n    twelve-inch sides; and the same work which took up four sides in 1924 now\n    had to be spread over five. Perhaps because of this – or because of the\n    obtrusive swish which plagues the end of the first side – the recording was\n    never issued outside the USA. Oddly, despite the additional room to spread\n    out, the recording is notably faster than the four-sided acoustic version\n    (17:03 vs. 17:35, not including post-track spaces).\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The next selection is a souvenir of a highly successful Mozart opera\n    festival that Walter led in Paris in June, 1928. Several recordings were\n    made with the “Mozart Festival Orchestra” (which was in fact the Paris\n    Conservatoire ensemble, perhaps renamed for contractual reasons), but only\n    two were released: the overture to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e and, oddly,\n    Schumann’s Fourth Symphony. Two other overtures were recorded, probably\nintended to be coupled on a single disc:    \u003cem\u003eDie Entführung aus dem Serail\u003c\/em\u003e and \u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e.\n    While no trace has turned up of the former, the latter has survived on a\n    unique shellac test pressing, which was used for the present transfer. It\n    makes its first appearance here.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e\n    was one of a series of recordings Walter made with the British Symphony\n    Orchestra, an ensemble created by returning veterans of the Great War. I’ve\n    always had a particular affection for this version, both because of the\n    quirky \u003cem\u003eLuftpause\u003c\/em\u003e Walter introduces after the opening phrase and\n    its repeats (an affectation he dropped in later recordings), and because of\n    the gusto with which the players attack the closing measures of the finale.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    By the spring of 1938, Walter had settled in Paris after escaping Vienna\n    during the \u003cem\u003eAnschluss\u003c\/em\u003e. He made a series of recordings there with\n    the Conservatoire Orchestra, including the Handel and Weber works which\n    close our program. The Handel is noteworthy in its inclusion of a\n    harpsichord continuo, something not yet the norm at that time. Walter had\n    previously recorded the Weber overture acoustically, spread over three\n    sides (on PASC 482). Perhaps due to the time limits of the two sides he was\n    now allotted, the remake is nearly a minute and a half faster, and gains in\n    breathtaking excitement.\n\u003c\/p\u003e\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: 14px;\"\u003e1\u003c\/span\u003e \u003cb\u003eBERLIOZ: Roman Carnival Overture, Op. 9\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (8:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 28 \u0026amp; 30 August or 8\/9 October 1923 in Berlin\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eMatrices: 80 az and 81 ½ az (Grammophon\/Polydor 69588)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e \u003cb\u003eWAGNER: Parsifal – Act I Transformation Music\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\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 25 November 1925 in the Columbia Petty France Studios, London\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eMatrix: WAX 1170-2 (English Columbia L 1745)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e \u003cb\u003eWAGNER: Siegfried Idyll\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (17:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 19 November 1926 in the Scala Theatre, London\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eMatrices: WRAX 2180-1, 2181-2, 2182-1, 2183-2 and 2184-2 (American Columbia 67317\/19-D in Set 68)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e \u003cb\u003eMOZART: Le Nozze di Figaro, K492 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMozart Festival Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 14 June 1928 in Paris\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eMatrix: WAX 3844 (Previously unpublished)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e: Serenade No. 13 in G major, ‘Eine Kleine Nachtmusik’, K525\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e Romanza\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e Menuetto\u003cspan style=\"font-size: 12px;\"\u003e (2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e Rondo\u003cspan style=\"font-size: 12px;\"\u003e (3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 May 1931 in Central Hall, Westminster, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: WAX 6104-2, 6105-3, 6106-2 and 6107-1 (English Columbia LX 144\/5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBritish Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL\u003c\/b\u003e: Concerto Grosso in B minor, Op. 6, No. 12 (HWV330)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e Largo\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11\u003c\/span\u003e Larghetto e piano\u003cspan style=\"font-size: 12px;\"\u003e (4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12\u003c\/span\u003e Largo\u003cspan style=\"font-size: 12px;\"\u003e (0:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13\u003c\/span\u003e Allegro\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17 May 1938 in the Théâtre Pigalle, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2LA 2393-2, 2394-2, 2395-2 and 2396-2 (HMV DB 3601\/2)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 May 1938 in the Théâtre Pigalle, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2LA 2531-1 and 2532-1 (HMV DB 3554)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eParis Conservatoire Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14\u003c\/span\u003e \u003cb\u003eWEBER: Der Freischütz, Op. 77 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eParis Conservatoire Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e (conductor)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to \u003cb\u003eRichard A. Kaplan\u003c\/b\u003e and \u003cb\u003eDavid Schmutz\u003c\/b\u003e for providing source material\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal Timing: \u003cb\u003e72:30\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\/PASC492.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC492.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":38674412557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 320kbps MP3","offer_id":38674412621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC492.jpg?v=1496234065"},{"product_id":"pasc492-cd","title":"WALTER Rarities, Volume Two (1923-1938) - PASC492 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418882701,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC492_c563a720-82c3-4013-85d0-650f9db15c52.jpg?v=1658744200"},{"product_id":"pasc305-cd","title":"PFITZNER conducts Overtures (1927-33) - PASC305 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478059661,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC305_daccd65d-e13d-4c29-9114-a0716b83f517.jpg?v=1658307104"},{"product_id":"pasc354","title":"LEO BLECH Overtures and Dances (1931) - PASC354","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVARIOUS COMPOSERS\u003c\/b\u003e Overtures and Dances\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1931\u003cbr\u003eTotal duration: 77:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLeo Blech\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you believe that something in the way of passion and character is missing from our current concert life, this CD will prove you right578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI don’t know of any conductor today who has a \nsound like Leo Blech’s. I’ve never heard more disciplined playing as \nthat on this disc, yet one doesn’t feel that it is enforced on the \norchestra. Blech never is as rigid as Toscanini. Along with this \ndiscipline, there is a lightness and flexibility that informs every bar.\n Blech spent most of his career in the opera house, and on this disc he \nis revealed as the theater conductor \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epar excellence\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Always one senses the dramatic impact of the music. Born in 1871, Blech\n represented the best of German Jewish culture in his generation. Like \nFelix Weingartner, Blech is a modern conductor in every sense, yet each \nbar under his direction pulses with life. His prestige in Germany was \nsuch that, despite being Jewish, he was able to remain in Germany under \nthe Nazis until 1937, four years after Bruno Walter and Otto Klemperer \nhad left the country. Blech was also a composer, particularly of opera \nand operetta, and as a result he seems to confront the music from the \ninside out, much as Leonard Bernstein did. The works on this CD were \nrecorded in the course of three days in London in 1931. The London \nSymphony under Blech’s direction never lets up, adapting with ease to a \nwide variety of repertoire. The overall effect is bracing and even \nrefreshing, as Blech dusts the cobwebs off novelties and warhorses \nalike.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Mozart works on this CD were great rarities in\n 1931. Unlike today’s maestros, Blech uses the full orchestra for \nMozart, yet the effect is never lumpy or heavy handed. The overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Petits Riens \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas\n warmth and grace, while the subsequent dances from that ballet possess a\n golden hue one associates with dances from the French Baroque. Luigi \nCherubini’s overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAnacréon \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ebrings\n us into the world of opera seria from the time of Spontini. Blech’s \nperformance has an ideal blend of dramatic intensity and lyricism. The \noverture to Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n receives the wildest performance on this disc, with some tempos in the \nmain section so quick that they virtually defy the orchestra to play \nthem. I have heard this overture many times, and I can assure you that \nyou never have heard it played like this. At the start of Mendelssohn’s \noverture \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCalm Sea and Prosperous Voyage\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Blech creates balances that result in far more musical interest than \nthe indifferent stasis that most conductors usually aim for in this \nopening. As the work ends, Blech slows down just enough to bring out the\n piece’s nobility.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy favorite selection on this CD is Daniel-François Auber’s overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe domino noir\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. German conductors of Blech’s generation were not known for leading French repertoire, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n a specialty of his, and he finds just the right combination of dash and\n mellifluousness for the Auber. In Offenbach’s overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOrpheus in the Underworld\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n there is a thrill a minute. It’s amazing that the same conductor could \nalso make the delicate tempo adjustments in music from Brahms’s First \nSerenade to ensure a play of light and shadow, wistfulness and energy. \nUnfortunately, there is a brief, loud electronic noise in the scherzo of\n the Brahms that is distracting. Finally, Blech conducts the most \nunsentimental version of Grieg’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNorwegian Dances \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eyou are ever going to hear. There is always forward motion and no dawdling, while details, such as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emarcato\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n accents in the first dance and the oboe solo in the second, jump out at\n you with their beauty. How Blech recorded music as different as Auber \nand Grieg on the same day is a mystery to me.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn has done a fine job remastering \nthese 78s. The transfers are usually warm and clear, with just enough \nsurface noise left in to preserve atmosphere and resonance. I hope \nObert-Thorn will turn his attention to Blech’s great recording of \nRichard Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Should you never have heard Leo Blech conduct, this CD, with its wide \nvariety of repertoire, is a great place to begin. If you believe that \nsomething in the way of passion and character is missing from our \ncurrent concert life, this CD will prove you right. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC354.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis program presents a wide cross-section of Leo Blech’s repertoire, from opera and operetta to ballet and concert music. Blech had recorded with the London Symphony Orchestra before (a pioneering Schubert 9th in 1927); but the impetus for having the present series done with them rather than with his usual Berlin State Opera Orchestra may have been HMV’s contract with the LSO, which mandanted a certain number of sessions each year with the ensemble.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOver three days of recording in both Kingsway and Queen’s Hall, Blech led the orchestra in some 23 sides, all but three of which are presented here. (The odd side, the Mozart Divertimento Minuet, had to wait until the following year for Blech to record a discmate with the Berlin Philharmonic.) The missing items from the London sessions, all by Mendelssohn, were two orchestrated “Songs without Words” on a 12-inch side, and the finale of the Italian Symphony on two 10-inch sides. (Longtime Blech reissue collectors may have them on the 1978 Past Masters LP, PM-14.)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers of the Cherubini and Mendelssohn works, as well as the last two Grieg dances, were American Victor “Z” pressings. The Mozart ballet music and the Brahms Serenade movements came from pre-war Victor “Gold” label pressings, while the first two Grieg dances came from a later “Silver” label disc. The Weber overture was transferred from an Italian Voce del Padrone pressing, and the remaining items came from British HMV shellacs.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAn electrical problem in the original recording sessions produced low frequency sputters and pops on several of the masters. These are particularly noticeable in the quiet passages on the first side of the Mendelssohn. I have removed the worst of them and attempted to filter the rest, but some of the noise remains on a few of the recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eLEO BLECH\u003c\/b\u003e Overtures and Dances (1931)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART Les petits riens\u003c\/b\u003e, K.299b - Ballet\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 1 Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 6 Gavotte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 10 Pantomime\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 12 Gavotte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 1515-2 and 1516-2 • First issued on HMV DB 1676\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART Minuet from Divertimento No. 17\u003c\/b\u003e in D major, K.334\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMozart: Minuet from Divertimento No. 17 in D major, Op. 11\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix: 2B 1197-1 • First issued on HMV DB 1714\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI Anacréon\u003c\/b\u003e - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCherubini: Anacréon — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 1190-2 and 1191-1 • First issued on HMV DB 1674\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER Oberon\u003c\/b\u003e - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Oberon — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 1511-2 and 1512-2 • First issued on HMV DB 1675\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN Calm sea and prosperous voyage\u003c\/b\u003e, Overture, Op. 27\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMendelssohn: Calm sea and prosperous voyage, Overture, Op. 27\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 1523-2, 1524-2 and 1525-1 • First issued on HMV DB 1671 and 1672\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eAUBER Le domino noir\u003c\/b\u003e - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAuber: Le Domino noir — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 0B 1517-2 and 1518-2 • First issued on HMV DA 1264\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eOFFENBACH Orpheus in the Underworld\u003c\/b\u003e - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOffenbach: Orpheus in the Underworld — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 1194-2 and 1195-2 • First issued on HMV DB 1673\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Serenade No. 1 in D major, Op. 11\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Menuetto 1 \u0026amp; 2\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Scherzo Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 1193-2 and 1192-2 • First issued on HMV DB 1670\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG Norwegian Dances\u003c\/b\u003e, Op. 35\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 1 Allegro marcato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 2 Allegretto tranquillo e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 3 Allegro moderato alla Marcia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo. 4 Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 2B 1519-2, 1520-1, 1521-2 and 1522-1 • First issued on HMV DB 1668 and 1669\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLeo Blech\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leo Blech\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:50\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\/PASC354.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC354.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e - CHERUBINI Anacréon - Overture \u003cspan class=\"bodymidarial\"\u003e(HMV 78rpm release, 1938)\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eCherubini (1760-1842), an old friend of my youth, is \nremembered by only the overtures of his operas. I should like to see one\n of them. Perhaps this classical soul was too easily satisfied with a \nlibretto- -a weakness that has put many an opera on the shelf, though I \ndo not think it is entirely crippling. \"Anacreon, or Fugitive Love,\" \ncame out in 1803, and went in very soon after. The overture is the kind \nof music that, I think, can be heard now and again with brisk pleasure. \nThere is a pompous chordal preface, and then some sweet wood-wind calls \nand answers. The material deals considerably in one or two figures (mark\n the quiet start, and the long crescendo, a plan which Rossini used so \nfreely). The music is no brain-stormer, or barn-stormer rather, a \nmostly-Mozartean spirit working with French needs in view. Anacreon may \nnot be the ideal subject for an opera, though he sang of themes that \nfilled so many stages—pleasure, the sportive life, lyricism, and the \ngrape (without a headache) ; not forgetting lovely woman, bless her, \nwho, as the poet sings, denied the weapons of all other creatures, is \ngiven \" Beauty ; this Both her arms and armour is : She, that can this \nweapon use, Fire and sword with ease subdues.\" And so forth (but \ndistrust the too trustful Moore's translations of what he thought was \nAnacreon). Dr. Blech always turns out reliable, tasteful work. The level\n of recording is such as my fibre can endure, and I enjoy. Enough, but \nnot too much.\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eW.R.A., The Gramophone\u003c\/strong\u003e, April 1938\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":3134675550234,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":3134675583002,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC354_e0930d88-39f2-417e-8d30-42b21ea2493a.jpg?v=1512227309"},{"product_id":"pasc354-cd","title":"LEO BLECH Overtures and Dances (1931) - PASC354 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478155597,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC354_98f866ef-5d2f-4417-8f1f-3959e8bd6a87.jpg?v=1658308577"},{"product_id":"pasc210","title":"WEINGARTNER in Basle \u0026 London (1928-29) - PASC210","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz - Overture\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eRosamunde, D797 - Entr'acte No. 3\u003cbr\u003e\u003cb\u003eWEINGARTNER \u003c\/b\u003eThe Tempest - Scherzettino\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eInvitation to the Dance\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eSymphony 3\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1928 and 1929\u003cbr\u003eTotal duration: 58:41\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBasle Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFelix Weingartner\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAn indispensable disc578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is one of Pristine’s most important releases \nto date, making available what is (so far as I’m aware) the first-ever \nrecording (1929) of Mendelssohn’s “Scottish” Symphony. (Its only \nprevious official CD incarnation was in EMI\/Toshiba’s large Weingartner \nedition of some years ago, but never available outside of Japan.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe slow introduction to the symphony is swiftly \nflowing and flexible, the light, sweet strings and lean, cutting \nwinds—wonderfully transparent textures through the obvious limitations \nof the 1929 recording—immediately conjuring an authentically \nMendelssohnian sound world. Given Weingartner’s classicist inclinations,\n the ensuing Allegro is surprisingly flexible in its constant tempo \nmodifications, though he manages to make them all quite \nnatural-sounding. There is some casual ensemble by today’s standards \n(truth to tell, the Scherzo really flies by the seat of its collective \npants!), and a tuba can be heard discreetly reinforcing the double \nbasses (this was hardly necessary in 1929, four years into the electric \nera, but the practice evidently died hard). The slow movement is supple,\n taut, and elegant, at 8:36 faster than virtually anything before the \nperiod-performance movement, and much the better for it. The finale goes\n with wonderful verve; Weingartner then shortens the major-mode coda by \ncutting several repetitions. Overall, a very impressive performance, of \nlong lines, dramatic sweep, and an unforced expressive authenticity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eUnlike its “Italian” sibling, the “Scottish” was \nsurprisingly neglected in the 78 era; between Weingartner’s gramophone \npremiere and the LP era came Mitropoulos\/Minneapolis (1941, reissued on \nthe short-lived Nickson Records) and a Toscanini\/NBC broadcast of the \nsame year (Testament). Although both performances are highly compelling \nin their way (the Greek maestro with a positively Expressionistic \nintensity, the Italian exciting but rather unyielding), neither sounds \nvery idiomatically Mendelssohnian.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe fill-ups, from Weingartner’s Basel days in \n1928, are real rarities. Though hardly one of the world’s great \norchestras, the Basel ensemble is highly characterful in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosamunde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n items; the sound here is far closer to present-day period-instrument \ngroups than modern orchestras—indeed, it is easy to believe that these \nlight, transparent sonorities were close to what Schubert and Weber had \nin mind. Like many conductors who also composed, Weingartner took the \nlatter activity very seriously, but on this evidence his compositional \ntalent was, well, unremarkable. Weingartner the composer was, however, \nunable to resist some serious monkeying with Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n where his ingenious contrapuntal overlays and recombinations put me in \nmind of (of all things) Godowsky’s similar treatment of Chopin’s études!\n But it makes a refreshing change from the over-familiar Berlioz \nversion, and it’s all great fun, which is not diminished by some fairly \nchaotic ensemble.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn’s transfers are every bit as expert as one would expect. An indispensable disc. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 33:6 (July\/Aug 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC210.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the present transfers were a mixture of American Columbia “Viva-Tonal” and “Full-Range” pressings for the Mendelssohn and English Columbias for the remainder. The Basle recordings are rather rare; \u003cem\u003eInvitation to the Dance\u003c\/em\u003e was the only title released in the USA, while Weingartner’s \u003cem\u003eTempest\u003c\/em\u003e excerpt was only released in Switzerland.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eWEINGARTNER\u003c\/b\u003e in Basle \u0026amp; London (1928-29)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e \u003cb\u003e\u003ci\u003eDer Freischütz\u003c\/i\u003e\u003c\/b\u003e - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Der Freischütz — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3rd May, 1928 in the Musiksaal, Basle\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WZX 75-3, 76-2 and 77-1\u003cbr\u003eFirst issued on Columbia 9644 and 9645\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e \u003cb\u003e\u003ci\u003eRosamunde\u003c\/i\u003e\u003c\/b\u003e, D797 - Entr'acte No. 3 in B flat\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchubert: Rosamunde, D797 — Entr'acte No. 3 in B flat\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3rd May, 1928 in the Musiksaal, Basle\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: WZX 74-2\u003cbr\u003eFirst issued on Columbia 9645\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEINGARTNER\u003c\/b\u003e \u003cb\u003e\u003ci\u003eThe Tempest\u003c\/i\u003e\u003c\/b\u003e - Scherzettino (\"Spuk neckender Geister\")\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeingartner: The Tempest — Scherzettino ('Spuk neckender Geister')\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3rd May, 1928 in the Musiksaal, Basle\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: WZX 73-1\u003cbr\u003eFirst issued on Columbia 8852\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e (orch. \u003cb\u003eWEINGARTNER\u003c\/b\u003e) \u003cb\u003e\u003ci\u003eInvitation to the Dance\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: (orch. WEINGARTNER) Invitation to the Dance\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3rd May, 1928 in the Musiksaal, Basle\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WZX 71-2 and 72-1\u003cbr\u003eFirst issued on Columbia 9691\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e \u003ci\u003eSymphony 3\u003c\/i\u003e in A minor, Op. 56 (\"Scottish\")\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Andante con moto; Allegro un poco agitato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Vivace non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro vivacissimo; Allegro maestoso assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27th March, 1929 in the Portman Rooms, Baker Street, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 4808-2, 4809-1, 4810-1, 4811-2, 4812-1, 4813-2, 4814-1 and 4815-2\u003cbr\u003eFirst issued on Columbia 9887 through 9890\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBasle Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Felix Weingartner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Felix Weingartner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Felix Weingartner\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 58:41\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\/PASC210.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC210.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":7002949517373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":7002949550141,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":7002949582909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC210_eee08067-8ec4-4b25-9f82-221c60e2d9be.jpg?v=1520850233"},{"product_id":"pasc210-cd","title":"WEINGARTNER in Basle \u0026 London (1928-29) - PASC210 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478191181,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC210.jpg?v=1658243949"},{"product_id":"pasc228","title":"SCHILLINGS conducts Beethoven, Schumann and Weber (1928\/29) - PASC228","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eTwo Overtures\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred - excerpts\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6 'Pastoral'\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1928 and 1929\u003cbr\u003eTotal duration: 77:59\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eMax von Schillings\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe playing is of high quality, Schillings’s conducting natural and unforced578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is one of Pristine’s most enterprising \nreleases to date. Max von Schillings, better known as a composer in his \nday, was not a very prolific recording artist, and as a conductor has \nuntil now been remembered mainly (if at all) for his Wagner orchestral \nexcerpts, available on Preiser. Release of these early electricals \n(1928–29) restores to availability a very important document in the \nearly discography of Beethoven’s symphonies.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnyone coming to this release with expectations of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKapellmeister\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e-ish\n efficiency (as I confess I did) will be agreeably surprised to \nencounter music-making of much vitality and considerable interpretive \nindividuality. The orchestra’s light sound—vibrato-free strings and lean\n winds—is very effective for the “Pastoral.” The playing is of high \nquality, Schillings’s conducting natural and unforced, flexible in pulse\n (especially in the first-movement development, “Scene by the Brook,” \nand “Shepherd’s Hymn”), but with fine forward momentum. His large-scale \nshaping is unerring, adding up to a very satisfying experience. (I’ll \nalso note, once again, that the tuba reinforcing the basses was quite \nunnecessary in 1929, four years into the electric era; in this instance,\n however, he really earned his money, frantically joining in the \n16th-notes in the “Storm”—hearing is believing!)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eComparing with other early electrical versions, it\n is interesting to observe Schillings steering a middle course between \nhis compatriots Pfitzner (with the same orchestra, in the same year, on \nNaxos or Preiser) and Schalk (VPO, 1928\/Lys): Pfitzner is very slow, \nbucolic, less flexible in tempo and less well played, but memorably \nrustic in the “Scene by the Brook” (his 14:00 sounding slower than \nSchillings’s even more leisurely, but more flexibly varied, 14:38), and \nwith a very exciting “Storm” and deeply devotional “Shepherd’s Hymn.” \nSchalk, in contrast, is swift, buoyant, and elegant—almost a \nproto-period-instrument approach, with the 1920s VPO in incredibly \ncharacterful form. Weingartner (RPO, 1927\/Naxos) is brisk, objective, \nand comparatively uninflected (dispatching the “Scene by the Brook” in a\n no-nonsense 10:56!), with the London orchestra notably inferior to both\n Berlin and Vienna.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSchillings’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is dramatically conceived and well shaped, though with playing less \ndisciplined than in the symphony (less disciplined, in fact, than \nNikisch’s rivetingly dramatic acoustic version with the LSO in 1913! \n[Symposium]). Enjoyable, but not much real contest with other early \nelectrical classics from Mengelberg (NYPO, 1930\/Pearl or Naxos—superb \nélan, thrust, and elegance) and Furtwängler (BPO, 1933\/Koch or \nNaxos—darkly massive).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Weber overtures are a delight, ideally light and airborne. As for Schumann’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eManfred,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n this 1929 recording is by far the earliest known to me (does anyone \nknow of one earlier?). The performance is strikingly classical, swift, \nspirited, and transparent in texture (if not ideally refined)—not unlike\n Schuricht’s punchy 1946 version with the LSO (Lys, though in poor \nsound), and quite a contrast with the organ-like bronzed romantic \nsplendor of Abendroth (Leipzig Gewandhaus, 1944\/Tahra).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn’s transfers are well up to his \nusual standards. Altogether an important release, whetting the appetite \nfor Schillings’s remaining recordings, including an “Eroica,” \n“Unfinished,” and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Any chance, Pristine? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC228.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe few CD reissues devoted to recordings of Max von Schillings which have appeared so far have concentrated on his justly-acclaimed Wagner performances, as well as those of his own compositions (Mona Lisa, Das Hexenlied). This release aims to broaden our appreciation of his abilities with a program of early Romantic repertoire.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers were American Columbia “Viva-Tonal” pressings for the Weber items; American “Okeh” Odeons (also pressed by American Columbia during their “Viva-Tonal” period) for the Schumann tracks; a pre-EMI laminated British Parlophone for the Egmont; and Italian Parlophon pressings (with a couple patches from a German Odeon set) for the Pastoral Symphony. Although the original engineering was not state-of-the-art for its time, the recordings from the 1928-29 season appear to have less overloading and blasting than the symphony, taken down the following season.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHILLINGS\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e, \u003cb\u003eSchumann\u003c\/b\u003e and \u003cb\u003eWeber\u003c\/b\u003e (1928\/29)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eEuryanthe - Overture (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Euryanthe — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8th October, 1928 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-20991 through 2-20993\u003cbr\u003eFirst issued on Parlophon P-9848 and 9849\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eAbu Hassan - Overture (3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeber: Abu Hassan — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19th December, 1928 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: 2-21137\u003cbr\u003eFirst issued on Parlophon P-9849\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred, Op. 115 - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchumann: Manfred — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred, Op. 115 - Alpenkuhreigen und Zwischenaktmusik* (3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchumann: Manfred — Alpenkuhreigen und Zwischenaktmusik\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTracks 3–4:\u003c\/b\u003e\u003cbr\u003eRecorded 3rd May and *10th May, 1929 in Berlin\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-21393 through 2-21395, and *2-21406\u003cbr\u003eFirst issued on Parlophon P-9484 and 9485\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont, Op. 84 - Overture (8:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBeethoven: Egmont — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14th December, 1928 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-21126 and 2-21127\u003cbr\u003eFirst issued on Parlophon P-9456\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F Major, Op. 68 (“Pastoral”) (42:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16th, 23rd and 30th September, 1929 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2-21560 through 2-21566; 2-21572 and 2-21573; and 2-21586 through 2-21588\u003cbr\u003eFirst issued on Parlphon P-9463 through 9468\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003e Max von Schillings\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Max von Schillings\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:59\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\/PASC228.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC228.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":34447705421,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34447705549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC228.jpg?v=1490028634"},{"product_id":"pasc228-cd","title":"SCHILLINGS conducts Beethoven, Schumann and Weber (1928\/29) - PASC228 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478203213,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC228_71261c45-09cb-4814-bfc3-4503c5542e89.jpg?v=1658244458"},{"product_id":"pasc163","title":"HERTZ The Complete San Francisco Recordings, Volume 1 (1927\/28) - PASC163","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overture No. 3\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eRosamunde, Entr'acte No. 3\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eMarche Militaire\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eDie Freischütz - Overture\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eA Midsummer Night's Dream\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1927 and 1928\u003cbr\u003eTotal duration: 58:59\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSan Francisco Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlfred Hertz\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC163.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis release is the first of four which will present the complete recordings of Alfred Hertz and the San Francisco Symphony Orchestra. Hertz was an important conductor during the early years of the 20th century, both in Germany, where he led the Berlin Philharmonic in their first recordings (Naxos Historical 8.110049-50; Berliner Philharmoniker BPH 06 01) and at the Metropolitan Opera in New York, where he earned the enmity of the Wagner family by breaking the ban on staged performances of Parsifal outside of Bayreuth.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBetween 1925 and 1928, he recorded extensively for the Victor Talking Machine Company with the San Francisco Symphony, whose music director he had become in 1915. Despite his notoriety, none of these recordings has ever been reissued on CD; and indeed, only one (the Tristan Prelude) was ever available on LP – and that only on a limited release from the Met.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor the current Pristine release, all the sides were taken from mid-1930s Victor “Z” shellac pressings, the most quiet form of issue, except for the Marche Militaire. By the time this was released on “Z” pressings, the original matrix had been replaced by a sonically compromised dubbing. However, the original, somewhat noisier “Orthophonic” pressings contained the undubbed side, and that is presented here in order for the recording to be heard in greater detail. (The last side of the Leonore Overture was only ever available in dubbed form, however.) I have also taken pains to correct the pitch fluctuations that plague all of the 1927 sides.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eHERTZ\u003c\/b\u003e The Complete San Francisco Recordings, Volume 1 (1927\/28)\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e - Leonore Overture No. 3, Op.72c (13:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20th, 21st and 28th February, 1928 at the Scottish Rite Temple, Oakland\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos: PCVE-42008-2, 42009-2, 42010-4 and 42011-1R\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 6906 and 6907\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e - Rosamunde, D.797 - Entr'acte No. 3 in B flat (4:43)\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12th April, 1927 in the Columbia Theatre, San Francisco\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos: PCVE-245-1\u003cbr\u003eFirst issued on Victor 6678 in album M-18\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e - Marche Militaire, D.733, No.1 (4:45)\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 15th April, 1927 in the Columbia Theatre, San Francisco\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos: PCVE-250-2\u003cbr\u003eFirst issued on Victor 6639\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e - Die Freischütz - Overture (9:19)\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 13th and 15th April, 1927 in the Columbia Theatre, San Francisco\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos: PCVE-246-3 and 247-2\u003cbr\u003eFirst issued on Victor 6705\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e -A Midsummer Night's Dream\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003ci\u003eOverture\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003ci\u003eScherzo\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003ci\u003eNocturne\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003ci\u003eWedding March\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11th, 12th and 15th April, 1927 in the Columbia Theatre, San Francisco\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos: PCVE-238-3, 239-2, 240-1, 241-4, 242-2, 243-1 and 244-2\u003cbr\u003eFirst issued on Victor 6675 through 6678 in album M-18\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSan Francisco Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlfred Hertz\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Don Tait for lending the undubbed take of the Marche Militaire\u003cbr\u003eCover artwork based on a photograph of Alfred Hertz\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 58:59\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\/PASC163.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC163.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":35862248973,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":35862249101,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC163.jpg?v=1491983497"},{"product_id":"pasc163-cd","title":"HERTZ The Complete San Francisco Recordings, Volume 1 (1927\/28) - PASC163 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478309837,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC163_6349e3c6-d227-4c55-be76-3a8e2cbee888.jpg?v=1658242650"},{"product_id":"pasc192","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003eFirebird Suite\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eOverture to 'Tannhäuser'\u003cbr\u003e\u003cb\u003eBRAHMS, GRIEG, MOZART, WEBER, BEETHOVEN\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTHOMAS, RIMSKY-KORSAKOV, GOUNOD, LIADOV\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1917-1924\u003cbr\u003eTotal duration: 70:37\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOf considerable interest for Stokowski admirers and those who are interested in the history of recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSure enough, in the same mail that brought me that\n Cala finale was a CD titled “Stokowski—Acoustic, Volume One.” I am not \nclear on whether it is merely the first volume of his acoustic \nrecordings or the first volume of a complete Stokowski series or \nsomething in between. Time will tell. Why do people continue to exhume \nthese sonic antiques? A respect for history? Admirable sentiment. A \ndesire to milk every last decibel and frequency wave from those hissing \nshellac grooves? Equally admirable. Stokowski, who began his \nPhiladelphia career in 1912, had initially resisted making recordings \nbecause he found them too primitive. Then, he changed his mind, \nexplaining, “I thought to myself: how stupid of you! You should record \nthis way and although it is bad and you should try to make better \nmethods of recording. . . . Then I tried to find better methods of \nrecording and very slowly they were made better but the first records \nwere made in 1917 and I’ve forgotten what they were. I’m glad I have \nbecause they were awful.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eStokowski’s early recordings were made in the \nauditorium of the New Office Building in Camden. I think some later ones\n were made in a Camden church. In those days, as many players as could \nbe accommodated were squeezed under a huge wooden horn. One source \nclaims that 90 Philadelphia Orchestra players made it under the horn. I \nsimply do not believe it. The orchestra sounds skimpy and brassy in the \nBrahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Nos. 5 and 6. I have read that, of the 450 acoustic sides he recorded, \nhe only approved 66. The selections on the CD are presented in \nchronological order of recording (skipping a few) so that one can \nactually hear a slight improvement by the time one arrives in 1924 for \nhis first of his eight recordings of the 1919 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n (I believe this is the record for one conductor recording the same \npiece), which Stravinsky had only assembled five years before the \nrecording. He cuts part of the finale, presumably to get the Suite onto \nfour sides. He also streamlines Felix Weingartner’s orchestration of \nWeber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n omitting repeats. Among the steps Stokowski took to try to improve the \nsound was shuffling the players around for better balance and having the\n horns face away from him so that the bells of the instrument would face\n the front. He changed the orchestration of some music, having the \nwoodwinds and brasses double some strings in the lower registers. You \ncan hear tuba or bass saxophone replacing double basses on some \nrecordings. He also tried various acoustic baffles to reflect the sound \nmore. He must have felt somewhat relieved in 1925, when electrical \nrecording came along, although Victor, at first, didn’t quite know what \nto do with it, continuing to record a reduced Philadelphia Orchestra in \nthe company’s dead Trinity Church studio in Camden, and substituting a \nbass saxophone for the double basses and a contrabassoon for the \ntimpani! By 1926, Victor’s engineers had gotten the message and the full\n orchestra began recording at the Academy of Music without any changes \nin the orchestration. Stokowski may have thought that some of these \nearly efforts were “awful,” but they may prove to be of considerable \ninterest for Stokowski admirers and those who are interested in the \nhistory of recording, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC192.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eStokowski made his first recordings with the Philadelphia Orchestra in 1917 though, as Edward Johnson has noted, \"between 1917 and 1924, they made an estimated 450 acoustic recordings, but the old method of playing into a large horn gave a very poor representation of orchestral sound, and of all their acoustic discs, only 60 or so were actually issued...\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIndeed, Stokowski's very first acoustic recordings were never released - his first attempts at the two Brahms Hungarian Dances included here were recorded on 22nd October, 1917, together with two works by Tchaikovsky. All four recordings were remade - in the case of the Brahms, just two days later, to become the first released recordings conducted by Stokowski.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt is indeed true, as Edward Johnson states, that in their 'natural' state, acoustic recordings made a pretty poor job of capturing anything much - though HMV's legendary producer Fred Gaisberg always had an affectionate soft spot for the way they captured the human voice. It has become a generalisation to state that the recordings captured little below 200Hz, and perhaps little above 2500Hz, or perhaps 3000Hz at a push.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, as these recordings demonstrate, this was not necessarily the case - though it often takes the kind of advanced restoration processing that Pristine's XR remastering brings to these recordings to uncover the real range and quality of acoustic recordings. In the case, for example, of the first recording on this collection, there's a full bass going down to (and possibly below) 70Hz - a frequency extension of almost two octaves over the accepted lower limits. Meanwhile, throughout the recording one can clearly hear string harmonics in the 3500-4000Hz range, and where the brass plays at full volume there's genuine audio content up at (and beyond) 5kHz, which is not far off the upper end of electrical recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn order to hear these extremes it has been necessary first to dramatically re-equalise sound that has been highly coloured and harmonically distorted by the horn it was recorded through. This therefore comprises the first stage of the XR process in this context. Secondly we then have to apply highly selective, targeted noise reduction to those frequencies which have received what has often been a quite enormous level boost, rooting out the noise and leaving as much of the actual recorded audio intact.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe results of this are genuinely astonishing - even more so when the records were slowed down to concert pitch (apparently it was common for Victor to deliberately record at below 78rpm so that their records sounded brighter when played back at their stated speed). The majority were out by up to a full semitone (though some were considerably closer to true concert pitch), and the correction of this adds further depth and authenticity to the instrumental sound, as well as giving a much more sensible idea of Stokowski's tempi.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recordings here, ordered by date of recording, include every piece (or version) that Stokowski only recorded once and in the acoustic era. It was astonishing to learn that his later studio recordings included neither Mozart's \u003cem\u003e40th Symphony\u003c\/em\u003e nor Beethoven's \u003cem\u003eEighth\u003c\/em\u003e, and that as a result the movements here represent his only studio-recorded comments on these major works. Meanwhile the Dresden version of Wagner's \u003cem\u003eTannhäuser Overture\u003c\/em\u003e was replaced by the later Paris version in all his subsequent recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFinally, I decided to add one work which Stokowski recorded more than any other conductor - Stravinsky's \u003cem\u003eFirebird Suite\u003c\/em\u003e, in a rare acoustic recording which was made right at the end of the acoustic era, and was swiftly remade in front of a microphone. Like many of the recordings in this collection, it has never been reissued on vinyl or CD.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese XR-remastered recordings probably serve to knock about ten years off the perceived age of many of these recordings (though they won't of course disguise the substitution of tubas for double basses) - and these remarkable recordings can be enjoyed as if they were recorded in the early days of electrical recordings, rather than the dying days of the acoustic horn - albeit with at times slightly higher surface noise.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e Acoustic, Volume 1 (1917-24)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Hungarian Dance No. 5 in G minor (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBRAHMS Hungarian Dance No. 5 in G minor\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24\/10\/1917, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 64752, Matrix B-20888-3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Hungarian Dance No. 6 in D (3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBRAHMS Hungarian Dance No. 6 in D\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24\/10\/1917, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 64753, Matrix B-20889-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Anitra's Dance from 'Peer Gynt' Suite No. 1, Op.46 (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGRIEG Anitra's Dance from 'Peer Gynt' Suite No. 1, Op. 46\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8\/11\/1917, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 64768, Matrix B-21067-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e 3. Menuetto, Symphony No. 40 in G minor, K550 (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMOZART 3. Menuetto, Symphony No. 40 in G minor, K550\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9\/5\/1919, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74609, Matrix C-22813-6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e Invitation to the Dance, J260 (arr. Weingartner) (4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWEBER Invitation to the Dance, J260 (arr. Weingartner)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9\/5\/1919, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74598, Matrix C-22821-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93 (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20\/5\/1920, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74661, Matrix C-24127-3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Overture to 'Tannhäuser' (Dresden version) (13:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWAGNER Overture to 'Tannhäuser' (Dresden version)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7\/11 \u0026amp; 5\/12\/1921, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74758, 74759, 74768\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices C-22808-10, 22814-7, 24999-2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Fireworks, Op. 4 (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY Fireworks, Op. 4\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6\/11\/1922, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 1112, Matrix B-27064-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e Gavotte from 'Mignon' (1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTHOMAS Gavotte from 'Mignon'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6\/3\/1923, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 66172, Matrix B-27982-1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Dance of the Tumblers from 'Snow Maiden' (3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRIMSKY-KORSAKOV Dance of the Tumblers from 'Snow Maiden'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19\/3\/1923, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 74849, Matrix C-27938-1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGOUNOD\u003c\/b\u003e Waltz from 'Faust' (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGOUNOD Waltz from 'Faust'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1\/5\/1923, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 66171, Matrix B-27099-8\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Festive March from 'Tannhäuser' (4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWAGNER Festive March from 'Tannhäuser'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28\/4\/1924 \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 6478, Matrix C-29051-6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (16:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Introduction and Dance of the Firebird\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Round Dance of the Princesses\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Infernal Dance of the Kashchei\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Berceuse and Finale\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 13\/10\/1924, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 6492\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices C-30992-3, 30993-3, 30994-2, 30995-3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Dance of the Amazon, Op. 65 (2:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLIADOV Dance of the Amazon, Op. 65\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 13\/10\/1924, \u003cspan style=\"font-size: 12px;\"\u003efirst issued as Victor 1112, Matrix B-31263-2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfers by Edward Johnson\u003cbr\u003eRestoration and XR remastering by Andrew Rose, September 2009\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 70:37\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC192.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC192.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":36099399501,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205576245582,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205576278350,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205576311118,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC192_a3b7e471-e1c3-4b29-8f0e-8913a7fa1e3e.jpg?v=1615189105"},{"product_id":"pasc192-cd","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205576180046,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC192.jpg?v=1658243384"},{"product_id":"pasc500","title":"STOKOWSKI Brahms: Symphony No. 1 (1927) - PASC500","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eInvitation to the Dance\u003cbr\u003e\u003cb\u003eJ STRAUSS II \u003c\/b\u003eOn The Beautiful Blue Danube\u003cbr\u003e\u003cb\u003eJ STRAUSS II \u003c\/b\u003eTales from the Vienna Woods\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eHungarian Rhapsody No. 2\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1926-27\u003cbr\u003eTotal duration: 70:01\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC500.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release, commemorating the 135th anniversary of Leopold Stokowski’s\n    birth (18 April 1882) as well as the 40th year since his death, is the\n    first in a series which will reissue his recordings of the four Brahms\n    symphonies with the Philadelphia Orchestra. Made over a span of six years\n    (1927 – 1933), they were the first integral set of the works offered on\n    disc.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Brahms’s First Symphony was something of a calling card for Stokowski\n    throughout his career. It featured on his debut program with the London\n    Symphony Orchestra in 1912, and later that year was the main work at his\n    first concert with the Philadelphia Orchestra. He recorded it commercially\n    five times, more than any other Brahms symphony.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The 1927 performance presented here, the first electrical recording of any\n    Brahms symphony, was prefaced by a spoken outline of themes by Stokowski.\n    As with his contemporaneous recording of the Beethoven Seventh (reissued on\n    Pristine PASC 483), Stokowski plays selected illustrations on the piano.\n    Probably because the conductor tended to turn away from the microphone\n    while still speaking in order to play his excerpts, later such recordings\n    used Philadelphia assistant conductors Artur Rodziński and Sylvan Levin at\n    the keyboard.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski had recorded the Weber \u003cem\u003eInvitation to the Dance\u003c\/em\u003e earlier\n    in a cut acoustic version (PASC 192) using Weingartner’s arrangement. For\n    his first electrical recording of the work, he chose the more familiar\n    Berlioz orchestration, but added to it some of his own touches such as\n    having the solo exchanges in the opening played by the entire cello\n    section, and distributing some of the “replies” to the oboe in addition to\n    Berlioz’ clarinet and flute.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The two Strauss waltzes were the first recordings made in the Academy of\n    Music. They utilized a reduced ensemble of only 66 players, and abridged\n    the works to fit to a single side each, as had been the custom in the\n    acoustic days. (It would not be until 1976, a year before his death, that\nStokowski would finally record a completely uncut    \u003cem\u003eTales from the Vienna Woods\u003c\/em\u003e, running 15 minutes long!)\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The final work on our program, Liszt’s Second Hungarian Rhapsody, was a\n    favorite Stokowski “lollipop” which became progressively more exaggerated\nover the years (see especially Stokowski’s filmed performance of it in    \u003cem\u003eOne Hundred Men and a Girl\u003c\/em\u003e), but never lost its sense of playful\n    fun. The recording heard here shows off the incredible virtuosity of the\n    Philadelphia Orchestra, truly an ensemble which had no superior at the\n    time.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sources for the transfers were pre-war Victor “Z” pressings for all\n    except the \u003cem\u003eBlue Danube\u003c\/em\u003e, which came from a Victor “Gold” label\n    copy, and \u003cem\u003eVienna Woods\u003c\/em\u003e, which came from a vinyl test pressing. The\n    original Brahms symphony sides were plagued with pitch and volume\n    fluctuations, which I have endeavored to correct here.\n\u003c\/p\u003e\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: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eOutline of Themes from Brahms’ Symphony No. 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 April 1927 in the Victor Studios, Camden, New Jersey\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CVE 38606-1 ∙ First issued on Victor 6657\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt. – Un poco sostenuto – Allegro\u003cspan style=\"font-size: 12px;\"\u003e (12:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt. – Andante sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (8:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt. – Un poco allegretto e grazioso\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th Mvt. – Adagio – Allegro non troppo ma con brio\u003cspan style=\"font-size: 12px;\"\u003e (15:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 – 27 April 1927 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos: CVE 37483-2, 37484-2, 37485-2, 37486-1, 37487-2, 37488-2, 37489-1, 37490-2, 37491-1 \u0026amp; 37492-2\u003cbr\u003eFirst issued on Victor 6658 through 6662 in album M-15\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eWEBER (orch. Berlioz\/Stokowski): Invitation to the Dance, Op. 65\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (8:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 May 1927 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 37495-1 \u0026amp; 37496-2 ∙First issued on Victor 6643\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II: On the Beautiful Blue Danube – Waltz, Op. 314\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1926 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CVE 22825-6 ∙ First issued on Victor 6584\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II: Tales from the Vienna Woods – Waltz, Op. 325\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1926 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CVE 35182-3 ∙ First issued on Victor 6584\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eLISZT (orch. Müller-Berghaus): Hungarian Rhapsody No. 2\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1926 and 10 March 1927 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 37002-2 \u0026amp; 37003-7 ∙ First issued on Victor 6652\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eTotal timing: 70:03\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\/PASC500.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC500.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":36318068941,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205564907854,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC500.jpg?v=1492759289"},{"product_id":"pasc500-cd","title":"STOKOWSKI Brahms: Symphony No. 1 (1927) - PASC500 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205564875086,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC500_01fafd14-9838-45d7-850e-068720c7dfe3.jpg?v=1658744393"},{"product_id":"pakm079","title":"BRAILOWSKY The Complete Polydor Recordings, Volume 2 (1928-36) - PAKM079","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eLISZT \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003eSolo works and transcriptions of music by \u003cb\u003eDEBUSSY, FALLA, LISZT, MENDELSSOHN, SCARLATTI, SCHUBERT, SCHUMANN, SCRIABIN, WAGNER, WEBER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1928-1936\u003cbr\u003eTotal duration: 1hr 58:16\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAlexander Brailowsky\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJulius Prüwer\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM079.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present release is the second of two which offer the complete pre-war\n    Polydor recordings of Alexander Brailowsky in new transfers for the first\n    time in thirty years. While the earlier volume (Pristine PAKM 078) focused\n    on his Chopin discs from this period, this one features his recordings of\n    Liszt and other composers.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Alexander Brailowsky was born in Kiev on 16 February 1896. After initial\n    instruction from his father, a professional pianist, he began studies at\n    the age of eight with Leschetizky pupil Vladimir Puchalsky, who would later\n    mentor Horowitz. Upon graduation from the Kiev Conservatory in 1911 where a\n    visiting Rachmaninov predicted that he would have a great future,\n    Brailowsky went to Vienna to study under Leschetizky himself, and made his\n    first public appearances there in 1913. In Zürich, he met with Busoni and\n    sought out his guidance. Moving to Paris where he eventually took up French\n    citizenship, he received further instruction from Planté before making a\n    recital debut there in 1919. His American career began in 1924, and\n    included a coast-to-coast tour in 1936. He gave his last recital at\n    Carnegie Hall in 1967, and died on 25 April 1976.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Brailowsky made his earliest disc recordings for Polydor in Berlin between\n    1928 and 1936. He also recorded a series of piano rolls for Ampico during\n    the late 1920s. After a couple sessions for HMV in 1938, he began a long\n    association with RCA Victor (1940 – 1958) before making a final group of\n    recordings for American Columbia (1960\/1).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Although Brailowsky’s presentations throughout his career of a Chopin cycle\n    featuring the composer’s complete solo works earned him a reputation as a\n    Chopin specialist, his own repertoire was more catholic. Liszt was always a\n    mainstay of his recital programs, whose printed portions often concluded\n    with one of the three Hungarian Rhapsodies featured here. In the LP era, he\n    was later to record the first 15 Rhapsodies, as well as \u003cem\u003eTotentanz\u003c\/em\u003e\n     twice – once with Reiner (reissued on Pristine PASC 235), and later in\n    stereo with Ormandy – although he was never to revisit the First Concerto\n    on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The remainder of our program displays Brailowsky’s sympathies in a wide\n    range of repertoire, from the Baroque to what was then relatively new\n    music. Critic Jonathan Summers, in his \u003cem\u003eA-Z of Pianists\u003c\/em\u003e, singles\n    out some of the highlights from these discs “Mendelssohn’s Scherzo in E\n    minor Op. 16 No. 2 is rhythmically incisive, the Pastoral and Capriccio of\n    Scarlatti (arranged by Tausig) is beautifully controlled with wonderful\ntone colours, and Liszt’s arrangement of Wagner’s overture to    \u003cem\u003eTannhäuser\u003c\/em\u003e is probably Brailowsky’s finest moment on disc. Even\n    though he simplifies a few left-hand figures, it is a performance in the\n    true grand Leschetizky style on par with the recording by Benno\n    Moiseiwitsch.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In this release, the sources for the transfers were German Polydor\n    pressings, except for two sides which came from early, non-laminated\n    American Brunswick copies. Considerable care has been taking in pitching\n    the original recordings, several of which had speed fluctuations throughout\n    the sides.\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\u003cb\u003eALEXANDER BRAILOWSKY\u003c\/b\u003e The Complete Polydor Recordings – Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (56:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eLISZT\u003c\/b\u003e Piano Concerto No. 1 in E flat major\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e 1st Mvt. Allegro maestoso\u003cspan style=\"font-size: 12px;\"\u003e (5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e 2nd Mvt. Quasi adagio\u003cspan style=\"font-size: 12px;\"\u003e (4:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e 3rd Mvt. Allegretto vivace – Allegretto animato\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e 4th Mvt. Allegro marziale e animato\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices. 993\/994\/995\/996 ½\/997 ½ BM ∙ Polydor 66750\/2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 1000 BM ∙ Polydor 66752\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 2601 ½ BH 1 ∙ Polydor 90175\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 1114 ½ BI 1 ∙ Polydor 95425\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 1112 ½\/1113 ½ BI 1 ∙ Polydor 95424\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 682 ½\/683 ½ BT 1 ∙ Polydor 90146\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 April 1934 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 747 ½\/748 GE 1 ∙ Polydor 35015\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 193\/194 ½\/195 ½ BV 1 ∙ Polydor 95419\/20\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices 1479\/1480 BK ∙ Polydor 90027\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 2600 ½ BH 1 ∙ Polydor 90175\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 1116 BI 1 [part] ∙ Polydor 95420\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 1115 ½ BI 1 ∙ Polydor 95425\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra ∙ Julius Prüwer\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e \u003cb\u003eLISZT Liebestraum No. 3 in A flat major\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e \u003cb\u003eLISZT Gnomenreigen\u003c\/b\u003e (Etude de concert No. 2)\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e \u003cb\u003eLISZT Valse impromptu\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e \u003cb\u003eLISZT Hungarian Rhapsody No. 2 in C sharp minor\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e \u003cb\u003eLISZT Hungarian Rhapsody No. 6 in D flat major\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e \u003cb\u003eLISZT Hungarian Rhapsody No. 12 in C sharp minor\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:11)\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 (61:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e \u003cb\u003eWAGNER\/LISZT Tannhäuser – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (14:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e \u003cb\u003eWAGNER\/LISZT Spinning Chorus (from The Flying Dutchman)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e \u003cb\u003eSCHUBERT\/LISZT Morgenständchen \u003c\/b\u003e(“Hark, Hark the Lark”)\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e \u003cb\u003eSCHUBERT\/LESCHETIZKY Moment Musical, Op. 94, No. 3\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e \u003cb\u003eSCHUBERT\/TAUSIG Marche Militaire, Op. 51\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (5:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCARLATTI\/TAUSIG Pastorale – Capriccio\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e Pastorale (arr. from Sonata in D minor, L 413)\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e Capriccio (arr. from Sonata in E major, L 375)\u003cspan style=\"font-size: 12px;\"\u003e (2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 982 BM ∙ Polydor 95141\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 1116 BI 1 [part] ∙ Polydor 95420\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 2596 ½ BH 1 ∙ Polydor 90173\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 2597 ½ BH 1 ∙ Polydor 90173\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 or 24 March 1934 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 6016 ½ GD 1 ∙ Polydor 62756\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 987 BM ∙ Polydor 95141\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 October 1936 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 6746 ½ GR 8 ∙ Polydor 62756\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 2598 ½ BH 1 ∙ Polydor 90174\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 983 BM ∙ Polydor 95142\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix 985 BM ∙ Polydor 95142\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\u003eMENDELSSOHN Spinning Song \u003c\/b\u003e(Songs Without Words, Op. 67, No. 4)\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e \u003cb\u003eMENDELSSOHN Scherzo in E minor, Op. 16, No. 2\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e \u003cb\u003eSCHUMANN Traumeswirren \u003c\/b\u003e(Fantasiestücke, Op. 12, No. 7)\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11\u003c\/span\u003e \u003cb\u003eSCHUMANN Intermezzo \u003c\/b\u003e(Faschingsschwank aus Wien, Op. 26, No. 4)\u003cspan style=\"font-size: 12px;\"\u003e (2:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12\u003c\/span\u003e \u003cb\u003eWEBER Perpetuum Mobile \u003c\/b\u003e(Presto from Sonata No. 1 in C major, Op. 24)\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;\"\u003e13\u003c\/span\u003e \u003cb\u003eDEBUSSY Serenade for the Doll\u003c\/b\u003e (from the Children’s Corner Suite)\u003cspan style=\"font-size: 12px;\"\u003e (2:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14\u003c\/span\u003e \u003cb\u003eDEBUSSY Toccata \u003c\/b\u003e(from Pour le Piano)\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15\u003c\/span\u003e \u003cb\u003eSCRIABIN Prelude in C sharp minor, Op. 11, No. 10\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (1:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16\u003c\/span\u003e \u003cb\u003eSCRIABIN Etude in D sharp minor, Op. 8, No. 12\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e17\u003c\/span\u003e \u003cb\u003eFALLA Ritual Fire Dance \u003c\/b\u003e(from El amor brujo)\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAlexander Brailowsky\u003c\/b\u003e (piano)\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 Donald Manildi, the International Piano Archives at the University of Maryland (IPAM) and Michael Gartz for providing source material\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover picture \u003cb\u003eAlexander Brailowsky\u003c\/b\u003e, c.1925 (Tully Potter Collection)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 58:16\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\/PAKM079.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM079.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":13961518579773,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205542068558,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM079_8a7bf1ae-1f7d-41c5-bee0-45d968aff5de.jpg?v=1550829643"},{"product_id":"pakm079-cd","title":"BRAILOWSKY The Complete Polydor Recordings, Volume 2 (1928-36) - PAKM079 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM079.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205542035790,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM079_3456f754-fe28-443a-bef1-a75b4ae79aae.jpg?v=1658417080"},{"product_id":"pabx025","title":"STOKOWSKI The Philadelphia Brahms Symphony Cycle (1926-33) - PABX025","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. 9, “From the New World”\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eHungarian Rhapsody No. 2\u003cbr\u003e\u003cb\u003eJ STRAUSS II \u003c\/b\u003eOn The Beautiful Blue Danube\u003cbr\u003e\u003cb\u003eJ STRAUSS II \u003c\/b\u003eTales from the Vienna Woods\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eInvitation to the Dance\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eVictor studio recordings, 1926-1933\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC500.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;\"\u003eSTOKOWSKI Brahms: Symphony No. 1 (1927) - PASC500\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, commemorating the 135th anniversary of Leopold Stokowski’s\n    birth (18 April 1882) as well as the 40th year since his death, is the\n    first in a series which will reissue his recordings of the four Brahms\n    symphonies with the Philadelphia Orchestra. Made over a span of six years\n    (1927 – 1933), they were the first integral set of the works offered on\n    disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Brahms’s First Symphony was something of a calling card for Stokowski\n    throughout his career. It featured on his debut program with the London\n    Symphony Orchestra in 1912, and later that year was the main work at his\n    first concert with the Philadelphia Orchestra. He recorded it commercially\n    five times, more than any other Brahms symphony.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The 1927 performance presented here, the first electrical recording of any\n    Brahms symphony, was prefaced by a spoken outline of themes by Stokowski.\n    As with his contemporaneous recording of the Beethoven Seventh (reissued on\n    Pristine PASC 483), Stokowski plays selected illustrations on the piano.\n    Probably because the conductor tended to turn away from the microphone\n    while still speaking in order to play his excerpts, later such recordings\n    used Philadelphia assistant conductors Artur Rodziński and Sylvan Levin at\n    the keyboard.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Stokowski had recorded the Weber \u003cem\u003eInvitation to the Dance\u003c\/em\u003e earlier\n    in a cut acoustic version (PASC 192) using Weingartner’s arrangement. For\n    his first electrical recording of the work, he chose the more familiar\n    Berlioz orchestration, but added to it some of his own touches such as\n    having the solo exchanges in the opening played by the entire cello\n    section, and distributing some of the “replies” to the oboe in addition to\n    Berlioz’ clarinet and flute.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The two Strauss waltzes were the first recordings made in the Academy of\n    Music. They utilized a reduced ensemble of only 66 players, and abridged\n    the works to fit to a single side each, as had been the custom in the\n    acoustic days. (It would not be until 1976, a year before his death, that\nStokowski would finally record a completely uncut    \u003cem\u003eTales from the Vienna Woods\u003c\/em\u003e, running 15 minutes long!)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The final work on our program, Liszt’s Second Hungarian Rhapsody, was a\n    favorite Stokowski “lollipop” which became progressively more exaggerated\nover the years (see especially Stokowski’s filmed performance of it in    \u003cem\u003eOne Hundred Men and a Girl\u003c\/em\u003e), but never lost its sense of playful\n    fun. The recording heard here shows off the incredible virtuosity of the\n    Philadelphia Orchestra, truly an ensemble which had no superior at the\n    time.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sources for the transfers were pre-war Victor “Z” pressings for all\n    except the \u003cem\u003eBlue Danube\u003c\/em\u003e, which came from a Victor “Gold” label\n    copy, and \u003cem\u003eVienna Woods\u003c\/em\u003e, which came from a vinyl test pressing. The\n    original Brahms symphony sides were plagued with pitch and volume\n    fluctuations, which I have endeavored to correct here.\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;\"\u003eSTOKOWSKI conducts Brahms and Dvořák (1927-28) - PASC540\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;\"\u003eIt is difficult to believe that it was not until 1921 that the first recording of any portion of a Brahms symphony appeared on disc: the third movement of the Brahms Third Symphony, abridged to one 78 rpm side, and played by Leopold Stokowski and the Philadelphia Orchestra.  When electrical recording appeared, the conductor went on to pioneer the earliest Brahms symphony cycle, beginning with the First in 1927 (Pristine PASC 500).  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Third was the next in the series to be recorded.  Like the First, it was the symphony’s première electrical recording; but it was also the work’s first complete recording.  It was hampered in two respects:  by a finale which begins with an unusual (for Stokowski) lack of energy, and only really catches fire toward the end; and by the abrupt and frequent volume level changes imposed by the original engineer.  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“Gain riding” was something of a necessary evil at the time in order to avoid loud passages causing a record to fail the “wear test”; but the recordings Victor made in late 1928 (including Mengelberg’s \u003ci\u003eEin Heldenleben\u003c\/i\u003e as well as the present set) took knob twiddling to an irrational extreme, with volume levels suddenly going up and down seemingly at random throughout the set.  Modern technology and painstaking, sometimes note-by-note work in this transfer have finally removed at least the most objectionable of these fluctuations, allowing listeners to hear it in an untampered form for the first time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite its drawbacks, the set remained in the Victor catalogue through the end of the 78 rpm era, even making an appearance on RCA’s Camden LP label in the 1950s.  The reason for both was probably the lack of a Stokowski remake until his Houston Symphony stereo LP appeared in 1959.  While the conductor made several studio recordings of the First and Fourth Symphonies, the Second and Third only have two apiece; but unlike any of the other symphonies, live recordings of Stokowski in this work have not been forthcoming on CD, save for a private release of a 1941 NBC Symphony broadcast.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Dvořák “New World”, on the other hand, was frequently recorded by Stokowski throughout his career.  The version heard here was already his second electrical recording with the Philadelphians, superseding a 1925 effort with reduced personnel and acoustic-style re-orchestration.  Like some other sets made by Stokowski and the Philadelphians in 1927 (the Beethoven Seventh, Brahms First and Franck Symphonies), it was accompanied in its American release by a separate disc with a discussion of the work spoken by the conductor.  Unlike the Beethoven and Brahms discs in which Stokowski assumed both the speaking and piano-playing roles, the pianist here, uncredited on the original discs, was his Philadelphia assistant, Artur Rodziński, in his first recording session.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the present transfers were Victor “Z” pressings for the Brahms (its quietest form of issue) and vinyl test pressings for the Dvořák.  On its original release, the “New World” contained two dubbed sides – Side 2, the second half of the first movement, and Side 3, the first side of the second movement.  I have used an unissued alternate take for the first movement side, but only the dubbed take still exists for the second movement.\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;\"\u003eSTOKOWSKI Brahms Symphonies 2 \u0026amp; 4 (1929\/33) - PASC562\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 completes the reissue of the Brahms Symphony cycle by Leopold\n    Stokowski and the Philadelphia Orchestra, begun with their 1927 recording\n    of the First Symphony (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc500\"\u003ePASC 500\u003c\/a\u003e) and continued with the Third\n    Symphony from the following year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc540\"\u003ePASC 540\u003c\/a\u003e). The Second was next to be\n    recorded, followed by the Fourth; but both proved problematic, requiring\n    additional takes ranging from a single side to an entire remake.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After recording the Second Symphony over two consecutive days in April,\n    1929, Stokowski decided to remake Side 6, the second side of the second\n    movement, eleven months later. Apparently, neither producer nor conductor\n    remembered where the original take began, and the remake started twelve\n    measures late, leaving out nearly a minute of music. Incredibly, no one\n    noticed the missing bars before the recording was released. When the gap\n    was discovered, a take from the earlier sessions was quickly substituted. The remake can be heard as a bonus track in all downloads as well as the free MP3 download package offered with all online CD purchases, while the take from the original sessions is presented within this release.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In his book, \u003cem\u003eConducting the Brahms Symphonies\u003c\/em\u003e, critic Christopher\n    Dyment had a mixed verdict regarding the performance, saying that while it\n    contains “a Classically balanced first movement,” it is “succeeded by an\n    overripe \u003cem\u003eAdagio\u003c\/em\u003e and two further movements markedly lacking in\n    rhythmic lift and forward impetus,” a charge similar to that levied against\n    the last movement of Stokowski’s 1928 Brahms Third. Dyment goes on to note\n    that Stokowski later revised his approach to the last three movements:\n    “[T]he 1950 New York Philharmonic [issued on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc215\"\u003ePASC 215\u003c\/a\u003e] and\n    Bavarian Radio broadcasts replace the early, somewhat turgid style with\n    something altogether fleeter and, in the finale, with a drive that tests\n    both orchestras to their limits.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    More successful as an interpretation was Stokowski’s approach to the Brahms\n    Fourth; but here, he was undercut by substandard recorded sound. During the\n    early years of the Depression, Victor recorded the Philadelphia Orchestra\n    in a Camden, New Jersey church converted to a studio in order to avoid\n    having to rent the Academy of Music. Reduced forces were used, cutting the\n    strings from 18-18-12-12-10 to 6-6-4-5-3. By 1934, sessions were held in\n    the larger area of the church’s nave, listed on the ledgers as “Church\n    Studio No. 2”; but in the period from 1931 through 1933, most were made in\n    what orchestra harpist Edna Phillips’ described to her biographer as “a\n    Sunday school room on the second floor,” devoid of reverberation (which has\n    been added in this transfer).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Added to this is another anomaly. The Fourth Symphony had initially been\n    recorded in April, 1931 on 14 10-inch sides. Album number M-108 was\n    allocated to this version, but it was apparently never released. (Transfers\n    of this version from test pressings have been issued on LP and CD.) Nearly\n    two years later, the present recording was made in the same venue, with\n    similarly reduced forces. While Stokowski would go on to re-record the\n    Second Symphony only once in 1977, at the very end of his career, he made\n    two further recordings of the Fourth, one with the All-American Youth\n    Orchestra in 1940, and a second with the New Philharmonia, following its\n    appearance in his final London concert in 1974.\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\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\u003eSTOKOWSKI\u003c\/b\u003e The Philadelphia \u003cb\u003eBrahms\u003c\/b\u003e Symphony Cycle (1926-33)\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;\"\u003eSTOKOWSKI Brahms: Symphony No. 1 (1927) - PASC500\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eOutline of Themes from Brahms’ Symphony No. 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 April 1927 in the Victor Studios, Camden, New Jersey\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CVE 38606-1 ∙ First issued on Victor 6657\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt. – Un poco sostenuto – Allegro\u003cspan style=\"font-size: 12px;\"\u003e (12:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt. – Andante sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (8:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt. – Un poco allegretto e grazioso\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th Mvt. – Adagio – Allegro non troppo ma con brio\u003cspan style=\"font-size: 12px;\"\u003e (15:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 – 27 April 1927 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos: CVE 37483-2, 37484-2, 37485-2, 37486-1, 37487-2, 37488-2, 37489-1, 37490-2, 37491-1 \u0026amp; 37492-2\u003cbr\u003eFirst issued on Victor 6658 through 6662 in album M-15\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eWEBER (orch. Berlioz\/Stokowski): Invitation to the Dance, Op. 65\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (8:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 May 1927 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 37495-1 \u0026amp; 37496-2 ∙First issued on Victor 6643\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: On the Beautiful Blue Danube – Waltz, Op. 314\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1926 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CVE 22825-6 ∙ First issued on Victor 6584\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II: Tales from the Vienna Woods – Waltz, Op. 325\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1926 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CVE 35182-3 ∙ First issued on Victor 6584\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eLISZT (orch. Müller-Berghaus): Hungarian Rhapsody No. 2\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1926 and 10 March 1927 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 37002-2 \u0026amp; 37003-7 ∙ First issued on Victor 6652\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eTotal timing: 70:03\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;\"\u003eSTOKOWSKI conducts Brahms and Dvořák (1927-28) - PASC540\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e conducts \u003cb\u003eBRAHMS\u003c\/b\u003e and \u003cb\u003eDVOŘÁK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony 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 – Un poco sostenuto – Tempo I\u003cspan style=\"font-size: 12px;\"\u003e (9:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (10:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt.: Poco allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:51)\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 (9:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25\/26 September 1928 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 46463-1A, 46464-1A, 46465-1A, 46466-1, 46467-2, 46468-1A, 46469-2A, 46470-2A, 46471-2A \u0026amp; 46472-2\u003cbr\u003eFirst issued on Victor 6962 through 6966 in album M-42\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 October 1927 in the Victor Studios, Camden, New Jersey\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CVE 40401-2\u003cbr\u003eFirst issued as Victor 6743 in album M-1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eOutline of Themes from Dvořák’s Symphony No. 9\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLeopold Stokowski\u003c\/b\u003e (\u003ci\u003espeaker\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eArtur Rodziński\u003c\/b\u003e (\u003ci\u003epianist\u003c\/i\u003e)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e: Symphony No. 9 in E minor, Op. 95 “From the New World”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st Mvt.: Adagio – Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt.: Largo\u003cspan style=\"font-size: 12px;\"\u003e (12:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd Mvt.: Scherzo (Molto vivace)\u003cspan style=\"font-size: 12px;\"\u003e (7:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4th Mvt.: Allegro con fuoco\u003cspan style=\"font-size: 12px;\"\u003e (10:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 5 \u0026amp; 8 October 1927 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 32802-4, 32803-4, 33290-6, 33291-6, 33292-5, 33293-4, 33294-3, 33297-4, 33296-3 \u0026amp; 33295-3\u003cbr\u003eFirst issued as Victor 6565 through 6569 in album M-1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:34\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;\"\u003eSTOKOWSKI Brahms Symphonies 2 \u0026amp; 4 (1929\/33) - PASC562\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI conducts BRAHMS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVictor Studio Recordings ∙ 1929 \u0026amp; 1933\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 2  in D major, Op. 73\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st Mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (14:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt. - Adagio non troppo\u003cspan style=\"font-size: 12px;\"\u003e (10:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt. - Allegretto grazioso (quasi andantino)\u003cspan style=\"font-size: 12px;\"\u003e (6:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th Mvt. - Allegro con spirito\u003cspan style=\"font-size: 12px;\"\u003e (9:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29-30 April 1929 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CVE 47951-3, 47952-2, 47953-2, 47954-2, 47955-3, 47956-2 47957-2, 47959-1, 47960-2, 47961-2, 47962-2 \u0026amp; 47963-4\u003cbr\u003eFirst issued on Victor 7277\/82 in album M-82\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eRecorded 15 March 1930 on \u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003ci\u003ematrix CVE 47956-3A\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003ci\u003eFirst issued on Victor 7279 (quickly withdrawn due to missing bars at the beginning)\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt. - Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (11:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt. - Andante moderato\u003cspan style=\"font-size: 12px;\"\u003e (11:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt. - Allegro giocoso\u003cspan style=\"font-size: 12px;\"\u003e (6:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt. - Allegro energico e passionato\u003cspan style=\"font-size: 12px;\"\u003e (9:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 4 March and 29 April 1933 in Church Studio No. 1, Camden\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 75162-1, 75163-1, 75165-1, 75167-2, 75168-1, 75169-1, 75171-1, 75172-1, 75174-2 \u0026amp; 75175-2\u003cbr\u003eFirst issued on Victor 7825\/9 in album M-185\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 2  in D major, Op. 73\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003e[9.] Alternate Take of Side Six \u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e(Part 2 of Second Movement)\u003c\/i\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eincluded on downloads\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e for this release\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:54\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":14132150763581,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205540987214,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC500.jpg?v=1769529768"},{"product_id":"pabx025-cd","title":"STOKOWSKI The Philadelphia Brahms Symphony Cycle (1926-33) - PABX025 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC500.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205540921678,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC500_f24a7136-0910-4608-8584-e4975d64d5da.jpg?v=1657122407"},{"product_id":"pasc595","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eJ S BACH\u003c\/b\u003e Suite No. 2 for Flutes and Strings\u003cbr\u003e\u003cb\u003eJ C BACH \u003c\/b\u003eSinfonia in B flat\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overtures 1 \u0026amp; 3, Coriolan Overture et al\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz, Euryanthe, Oberon - Overtures\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eLes Préludes\u003cbr\u003emusic by \u003cb\u003eCHERUBINI, MENDELSSOHN, BERLIOZ\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-31\u003cbr\u003eTotal duration: 2hr 33:24\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC595.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release, along with the Tchaikovsky recordings previously reissued on\n    Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\"\u003ePASC 511\u003c\/a\u003e and another volume to follow, will present Willem\n    Mengelberg’s complete recordings with his Concertgebouw Orchestra for the\n    Columbia label. Early versions will be included as well as their remakes,\n    along with alternate takes (one of them in the next volume unpublished on\n    78 rpm).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg’s Columbias are significant in several respects: they include\n    his first recordings with the Concertgebouw, an ensemble whose partnership\n    with the conductor dated back to 1895; they feature the works of some\n    contemporary composers with whom Mengelberg had personal friendships and\n    special insights, such as Mahler in our next volume; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e, which have\n    never been bettered on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present volume focuses on works from the Baroque to the early Romantic\n    era. The music of Johann Sebastian Bach was considered a Mengelberg\n    specialty during his career, and he was noted for his annual performances\n    of the \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e in Amsterdam. The conductor’s\n    big-orchestra Romantic era approach would not pass muster today – flute\n    solos are doubled, one commentator has reported hearing an organ in the\nbackground, and I’m sure there’s a glockenspiel tinkling away in the    \u003cem\u003eBadinerie\u003c\/em\u003e \u003cem\u003e– \u003c\/em\u003eyet I think we are the poorer for it.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Only two movements of the \u003cem\u003eSinfonia\u003c\/em\u003e by Bach’s youngest son were\n    recorded by Columbia, but Mengelberg was able to complete it in a\n    near-contemporaneous recording with his “other” orchestra, the New York\n    Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc378\"\u003ePASC 378\u003c\/a\u003e), a reading which is surprisingly similar, not only\n    in overall interpretive approach but also in orchestral execution.\n    Mengelberg was an early champion of the works of Cherubini, and his\n    recording of the \u003cem\u003eAnacreon\u003c\/em\u003e Overture reveals the composer’s\n    influence on Beethoven.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Columbia had already recorded Weingartner in the Beethoven Eighth Symphony\n    earlier in the year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc414\"\u003ePASC 414\u003c\/a\u003e), so Mengelberg had to make do with only a\n    single movement as a filler side to the Cherubini. (He was later to record\n    it complete for Telefunken.) It is replete with humorous detail, as well as\n    some inadvertent studio noises. The conductor also brings the grandiose\n    humor of the “Turkish March” to the fore in another recording he was later\n    to remake for Telefunken.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Beethoven overtures taken down during these sessions are classic\n    readings which belie the caricature of the conductor as “Mangleberg”. Here,\n    there is no self-indulgent phrase-pulling, but rather finely judged rubato\n    and rhetorical emphases. (And here again, as with the J. C. Bach, one can\n    compare the two Concertgebouw versions of the \u003cem\u003eEgmont\u003c\/em\u003e with a New\n    York recording made between them.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the Weber overtures, one can hear Mengelberg’s fusion of forward\n    momentum coupled to a sense of magical wonder. Listen, for example, to the\n    bridge between the boisterous opening of the \u003cem\u003eEuryanthe\u003c\/em\u003e Overture\n    and the lyrical second subject. Here, unlike many other interpreters,\n    Mengelberg takes an extremely broad tempo accompanied by tender string\n    portamenti. It’s usually a throwaway transitional moment; but Mengelberg\n    elevates it to something sublime.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Mendelssohn Scherzo appeared in two different takes, the somewhat less\n    tidy earlier one issued only in America. A cut is taken in both for disc\n    timing reasons, although the conductor performed it complete in a 1938 BBC\n    Symphony broadcast (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc184\"\u003ePASC 184\u003c\/a\u003e). The two Berlioz excerpts were hampered by\n    dim early sound and pitch drift (corrected here), but restoration reveals\nidiomatic performances. Arguably best of all is Mengelberg’s Liszt, with    \u003cem\u003eLes Préludes\u003c\/em\u003e blazing in a grandeur only one born with a\n    Romantic-era sensibility could truly grasp and convey. (Or, as Humpty\n    Dumpty observed to Alice, “\u003cem\u003eThere’s\u003c\/em\u003e glory for you!”)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 24px;\"\u003eColumbia Recordings ∙ Volume I\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (74:55)\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 for Flutes and Strings, 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 (8:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Rondeau: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Sarabande: Andante\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Bourées I and II\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Polonaise: Moderato\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Menuet: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Badinerie: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6134-2, 6135-1, 6136-2, 6137-2, 6138-1 \u0026amp; 6139-2 ∙ First issued on Columbia LX 134\/6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. C. \u003cb\u003eBACH\u003c\/b\u003e (arr. Stein): Sinfonia in B flat, Op. 18, No. 2 (“Lucio Silla” Overture)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1st Mvt.: Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2837-1 \u0026amp; 2838-1 ∙ First issued on Columbia L 2047\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2841-2, 2842-1 \u0026amp; 2843-1 ∙ First issued on Columbia L 1972\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eCHERUBINI: Anacreon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:39)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e: Symphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 2nd Mvt.: Allegretto scherzando\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 2844-1 ∙ First issued on Columbia L 1973\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN: The Ruins of Athens – Op.113\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e No. 4 – Turkish March\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5607-2 ∙ First issued on Columbia LX 130\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6128-2 \u0026amp; 6129-2 ∙ First issued on Columbia LX 167\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6132-1 \u0026amp; 6133-2 ∙ First issued on Columbia LX 160\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5593-2, 5594-2 \u0026amp; 5595-2 ∙ First issued on Columbia LX 129\/30\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6130-2 \u0026amp; 6131-2 ∙ First issued on Columbia LX 161\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6126-2 \u0026amp; 6127-3 ∙ First issued on Columbia LX 154\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6124-2 \u0026amp; 6125-3 ∙ First issued on Columbia LX 157\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 3642-3, 3643-2 \u0026amp; 3644-2 ∙ First issued on Columbia L 2312\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:47)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 1, Op. 138\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 3, Op. 72b\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:07)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:05)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWEBER: Der Freischütz – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:58)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWEBER: Euryanthe – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:26)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWEBER: Oberon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:08)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBERLIOZ: The Damnation of Faust, Op. 24\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Dance of the Sylphs\u003cspan style=\"font-size: 12px;\"\u003e (2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Hungarian March\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5044-2, 5045-2, 5046-2 \u0026amp; 5047-2 ∙ First issued on Columbia L 2362\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1543-3 \u0026amp; 1542-2 ∙ First issued on Columbia L 1810\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eLISZT: Les Préludes, G97\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (15:26)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eEarly Versions and Alternate Takes\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1546-2 \u0026amp; 1547-2 ∙ First issued on Columbia L 1848\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1544-3 \u0026amp; 1545-1 ∙ First issued on Columbia L 1799\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-2 ∙ First issued on Columbia 9560\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-1 ∙ First issued on American Columbia 67486-D\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration:  2hr 33:24\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\/PASC595.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC595.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":31671998054461,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205533712718,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC595_cd8fd46f-e37c-4f86-a204-688e9553436c.jpg?v=1587100525"},{"product_id":"pasc595-cd","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC595.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205533679950,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC595.jpg?v=1658750540"},{"product_id":"pabx032","title":"MENGELBERG The Complete Columbia Concertgebouw Recordings (1926-32) - PABX032","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eJ S BACH\u003c\/b\u003e Suite No. 2 for Flutes and Strings\u003cbr\u003e\u003cb\u003eJ C BACH\u003c\/b\u003e Sinfonia in B flat\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overtures 1 \u0026amp; 3, Coriolan Overture et al\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 - Academic Festival Overture\u003cbr\u003e\u003cb\u003eGRIEG \u003c\/b\u003eTwo Elegiac Melodies\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eLes Préludes\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003eBoléro\u003cbr\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Perpetuum Mobile\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 4 in F minor\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eRomeo and Juliet – Fantasy Overture\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eWaltz from Serenade for Strings\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTannhäuser Overture - Lohengrin Prelude\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz, Euryanthe, Oberon - Overtures\u003cbr\u003emusic by \u003cb\u003eCHERUBINI, MENDELSSOHN, BERLIOZ\u003c\/b\u003e, \u003cb\u003eSUPPÉ, BIZET, MAHLER, TCHAIKOVSKY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-32\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC616.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;\"\u003eMENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511\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    Willem Mengelberg had a long history as a champion of Tchaikovsky going\n    back to some of his earliest appearances as chief conductor of the\n    Concertgebouw Orchestra in 1895. The rhythmic flexibility, passionate\n    intensity and inexorable forward momentum of his performances were ideally\n    suited to the Russian composer’s works.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Among his earliest acoustic recordings with the New York Philharmonic for\n    Victor were two abridged movements from the \u003cem\u003ePathétique\u003c\/em\u003e Symphony,\n    each on a single side, and the Waltz from the Serenade for Strings. With\n    the introduction of electrical recording and the signing of his Dutch\n    orchestra to the Columbia label, however, his recorded Tchaikovsky\n    repertoire expanded significantly.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg’s first attempt at recording Tchaikovsky’s Fifth Symphony was in\n    June, 1927, when only the middle two movements were taken down. Although\n    this session was recorded by Columbia, these sides were issued only on\n    French Odeon, and are among Mengelberg’s rarest discs. In December of the\n    same year, Mengelberg recorded the symphony complete with the New York\n    Philharmonic for Brunswick. This set was never released, however,\n    reportedly because it failed the “wear test” with regard to blasting during\n    loud passages, and the masters were destroyed.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Five months later, he recorded the complete performance presented here,\n    which has remained a gramophone classic despite its inherent speed\n    fluctuation problems (definitively fixed here using Capstan pitch\n    stabilisation software). He would go on to re-record the work in 1940 with\n    the Berlin Philharmonic (Pristine PASC 348), and a live broadcast with the\n    Concertgebouw from 1939 has also been released. In all of these, Mengelberg\n    takes two cuts in the finale: a large one in the development section, and a\n    smaller one at the start of the coda. He claimed for these the authority of\n    the composer’s brother, Modest, who had told him that Tchaikovsky himself\n    made these elisions in his later performances of the work in order to\n    tighten the structure of the movement.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nIn contrast to the many versions of the Fifth, both the Fourth Symphony and    \u003cem\u003eRomeo and Juliet\u003c\/em\u003e only received the single recordings presented\n    here. The \u003cem\u003eRomeo\u003c\/em\u003e is particularly noteworthy in being one of the few\n    versions from the 78 rpm era to fit on four sides, although it is\n    accompanied by a noticeable tempo acceleration at the start of Side 3. The\n    Waltz from the Serenade for Strings was originally issued as the filler for\n    the Fifth Symphony. Mengelberg and the Concertgebouw would go on to\n    re-record it as part of the complete Serenade for Telefunken in 1938.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sources for the transfers were U.S. Columbia “Viva-Tonal” label\n    pressings, and French Odeons for the two movements from the Fifth Symphony\n    from 1927.\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;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595\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, along with the Tchaikovsky recordings previously reissued on\n    Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\"\u003ePASC 511\u003c\/a\u003e and another volume to follow, will present Willem\n    Mengelberg’s complete recordings with his Concertgebouw Orchestra for the\n    Columbia label. Early versions will be included as well as their remakes,\n    along with alternate takes (one of them in the next volume unpublished on\n    78 rpm).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg’s Columbias are significant in several respects: they include\n    his first recordings with the Concertgebouw, an ensemble whose partnership\n    with the conductor dated back to 1895; they feature the works of some\n    contemporary composers with whom Mengelberg had personal friendships and\n    special insights, such as Mahler in our next volume; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e, which have\n    never been bettered on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present volume focuses on works from the Baroque to the early Romantic\n    era. The music of Johann Sebastian Bach was considered a Mengelberg\n    specialty during his career, and he was noted for his annual performances\n    of the \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e in Amsterdam. The conductor’s\n    big-orchestra Romantic era approach would not pass muster today – flute\n    solos are doubled, one commentator has reported hearing an organ in the\nbackground, and I’m sure there’s a glockenspiel tinkling away in the    \u003cem\u003eBadinerie\u003c\/em\u003e \u003cem\u003e– \u003c\/em\u003eyet I think we are the poorer for it.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Only two movements of the \u003cem\u003eSinfonia\u003c\/em\u003e by Bach’s youngest son were\n    recorded by Columbia, but Mengelberg was able to complete it in a\n    near-contemporaneous recording with his “other” orchestra, the New York\n    Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc378\"\u003ePASC 378\u003c\/a\u003e), a reading which is surprisingly similar, not only\n    in overall interpretive approach but also in orchestral execution.\n    Mengelberg was an early champion of the works of Cherubini, and his\n    recording of the \u003cem\u003eAnacreon\u003c\/em\u003e Overture reveals the composer’s\n    influence on Beethoven.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Columbia had already recorded Weingartner in the Beethoven Eighth Symphony\n    earlier in the year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc414\"\u003ePASC 414\u003c\/a\u003e), so Mengelberg had to make do with only a\n    single movement as a filler side to the Cherubini. (He was later to record\n    it complete for Telefunken.) It is replete with humorous detail, as well as\n    some inadvertent studio noises. The conductor also brings the grandiose\n    humor of the “Turkish March” to the fore in another recording he was later\n    to remake for Telefunken.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Beethoven overtures taken down during these sessions are classic\n    readings which belie the caricature of the conductor as “Mangleberg”. Here,\n    there is no self-indulgent phrase-pulling, but rather finely judged rubato\n    and rhetorical emphases. (And here again, as with the J. C. Bach, one can\n    compare the two Concertgebouw versions of the \u003cem\u003eEgmont\u003c\/em\u003e with a New\n    York recording made between them.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the Weber overtures, one can hear Mengelberg’s fusion of forward\n    momentum coupled to a sense of magical wonder. Listen, for example, to the\n    bridge between the boisterous opening of the \u003cem\u003eEuryanthe\u003c\/em\u003e Overture\n    and the lyrical second subject. Here, unlike many other interpreters,\n    Mengelberg takes an extremely broad tempo accompanied by tender string\n    portamenti. It’s usually a throwaway transitional moment; but Mengelberg\n    elevates it to something sublime.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Mendelssohn Scherzo appeared in two different takes, the somewhat less\n    tidy earlier one issued only in America. A cut is taken in both for disc\n    timing reasons, although the conductor performed it complete in a 1938 BBC\n    Symphony broadcast (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc184\"\u003ePASC 184\u003c\/a\u003e). The two Berlioz excerpts were hampered by\n    dim early sound and pitch drift (corrected here), but restoration reveals\nidiomatic performances. Arguably best of all is Mengelberg’s Liszt, with    \u003cem\u003eLes Préludes\u003c\/em\u003e blazing in a grandeur only one born with a\n    Romantic-era sensibility could truly grasp and convey. (Or, as Humpty\n    Dumpty observed to Alice, “\u003cem\u003eThere’s\u003c\/em\u003e glory for you!”)\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;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616\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, along with our first volume (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc595\"\u003ePASC 595\u003c\/a\u003e) and the\n    Tchaikovsky works featured on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\"\u003ePASC 511\u003c\/a\u003e, present Willem Mengelberg’s\n    complete recordings with his Concertgebouw Orchestra for the Columbia\n    label. Mengelberg’s Columbias are significant in several respects: they\n    include his earliest recordings with the Concertgebouw, an ensemble whose\n    partnership with the conductor dated back to 1895; they feature the works\n    of some contemporary composers with whom Mengelberg had personal\n    friendships and special insights, such as Mahler; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e in our previous\n    volume, which have never been bettered on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present collection focuses on works from the Romantic era through the\n    music of the conductor’s contemporaries. Mengelberg only recorded a handful\n    of Wagner orchestral works; yet the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture which\n    opens our program stands among the finest ever made. Critic Rob Cowan has\n    written that it “vies with \u003cem\u003eLes Préludes\u003c\/em\u003e as the perfect show-case\n    for Mengelberg’s striking personality.” Aided by Columbia’s superb\n    engineering in one of his last recordings for the label, Mengelberg\n    achieves in the final pages the same overwhelming sense of glory he evoked\n    in the Liszt tone poem. Hardly less noteworthy is the \u003cem\u003eLohengrin\u003c\/em\u003e\n    Prelude, which highlights the string portamenti that were a hallmark of\n    Mengelberg’s interpretations.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg only recorded three of the Brahms symphonies – the Second and\n    Fourth for Telefunken, and this Columbia version of the Third. (A live\n    broadcast of the First, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc221\"\u003ePASC 221\u003c\/a\u003e, was released after his death.) As\n    there was already a recent Weingartner recording of the First in the\n    Columbia catalog, Mengelberg had to make do with only a single movement as\na filler side for his expansive performance of the \u003cem\u003eAcademic Festival\u003c\/em\u003e Overture. In the Third Symphony, the    \u003cem\u003eAndante\u003c\/em\u003e is taken at a surprisingly fast tempo. But lest one think\n    this was done solely to fit the movement onto a side and a half, he takes a\n    similar approach in a 1944 broadcast.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The next selections display Mengelberg’s deft touch with lighter music. A\n    highlight of the Suppé overture is the beautifully played solo by longtime\n    Concertgebouw principal cellist Marix Loevensohn. The Johann Strauss work\n    is a showcase for the various sections of the orchestra, each displaying a\n    memorable individuality. The Bizet again draws attention to the portamenti\n    of the Concertgebouw strings, as they work up to an expertly paced\n    crescendo.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Three composers Mengelberg knew personally follow in our program. Both\n    Grieg and Ravel expressed admiration for the conductor; and Mahler was a\n    close friend whose works Mengelberg championed for years, both before and\n    after the composer’s death. The \u003cem\u003eAdagietto\u003c\/em\u003e from Mahler’s Fifth\n    presented here is perhaps the most important document in this set; for in\n    addition to being the conductor’s only commercial recording of a Mahler\n    work, its notably faster pacing reveals it in a much different light than\n    that of subsequent interpreters.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Ravel was one of the four earliest recordings of the work, made between\n    January and May of 1930, after those of Piero Coppola, the composer himself\n    and Serge Koussevitzky. Though it drives to an impressively loud\n    conclusion, the performance is somewhat hobbled by the players’ requirement\n    to stop every four minutes to start a new matrix, with tempi and volume\n    levels becoming inconsistent from side to side.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe final work is an unpublished take of the Waltz from Tchaikovsky’s    \u003cem\u003eSerenade for Strings\u003c\/em\u003e, which was omitted from our earlier\n    all-Tchaikovsky set. There is some untidy ensemble around 2:50, which may\n    have been the reason Mengelberg recorded another two takes before he\n    approved the result. Such was his sense of perfectionism, even in a\n    seemingly minor filler side like this. \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\u003eMENGELBERG\u003c\/b\u003e The Complete Columbia Concertgebouw Recordings (1926-32)\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;\"\u003eMENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (60:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eTCHAIKOVSKY: Romeo and Juliet – Fantasy Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (18:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 5599-2, 5600-2, 5601-2 and 5602-2\u003cbr\u003eFirst issued on Columbia LX 55\/6\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Symphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt.: Andante sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (17:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt.: Andantino in modo di canzone\u003cspan style=\"font-size: 12px;\"\u003e (8:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Pizzicato ostinato\u003cspan style=\"font-size: 12px;\"\u003e (5:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th Mvt.: Finale – Allegro con fuoco\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 - 15 June 1929 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 5034-5, 5035-1, 5036-2, 5037-1, 5038-2, 5039-1, 5040-3, 5041-1, 5042-2 and 5043-1\u003cbr\u003eFirst issued on Columbia L 2366\/70\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 (68:39)\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, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 2nd Mvt.: Andante cantabile, con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (14:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 3rd Mvt.: Valse – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (6:12)\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, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (13:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd Mvt.: Andante cantabile, con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (14:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd Mvt.: Valse – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (6:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th Mvt.: Finale – Andante maestoso\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 2831\/6 (Columbia) and 7855\/60 (Odeon)\u003cbr\u003eFirst issued on Odeon (France) 123.533\/5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1928 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 3629-3, 3630-3, 3631-3, 3632-3, 3633-2, 3634-3, 3635-2, 3636-2, 3637-4, 3638-2, 3639-3, 3640-3 and 3641-3\u003cbr\u003eFirst issued on Columbia L 2176\/82\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt.: Waltz\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1928 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: WAX 3646-3\u003cbr\u003eFirst issued on Columbia L 2182\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWillem Mengelberg ∙ Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003ePitch stabilisation (CD 2, Tracks 3 – 7): Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on photographs of Tchaikovsky and Mengelberg\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 08:26\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;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 20px;\"\u003eColumbia Recordings ∙ Volume I\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (74:55)\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 for Flutes and Strings, 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 (8:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Rondeau: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Sarabande: Andante\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Bourées I and II\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Polonaise: Moderato\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Menuet: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Badinerie: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6134-2, 6135-1, 6136-2, 6137-2, 6138-1 \u0026amp; 6139-2 ∙ First issued on Columbia LX 134\/6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. C. \u003cb\u003eBACH\u003c\/b\u003e (arr. Stein): Sinfonia in B flat, Op. 18, No. 2 (“Lucio Silla” Overture)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1st Mvt.: Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2837-1 \u0026amp; 2838-1 ∙ First issued on Columbia L 2047\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2841-2, 2842-1 \u0026amp; 2843-1 ∙ First issued on Columbia L 1972\/3\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\u003eCHERUBINI: Anacreon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e: Symphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 2nd Mvt.: Allegretto scherzando\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 2844-1 ∙ First issued on Columbia L 1973\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN: The Ruins of Athens – Op.113\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e No. 4 – Turkish March\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5607-2 ∙ First issued on Columbia LX 130\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6128-2 \u0026amp; 6129-2 ∙ First issued on Columbia LX 167\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6132-1 \u0026amp; 6133-2 ∙ First issued on Columbia LX 160\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5593-2, 5594-2 \u0026amp; 5595-2 ∙ First issued on Columbia LX 129\/30\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6130-2 \u0026amp; 6131-2 ∙ First issued on Columbia LX 161\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6126-2 \u0026amp; 6127-3 ∙ First issued on Columbia LX 154\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6124-2 \u0026amp; 6125-3 ∙ First issued on Columbia LX 157\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 3642-3, 3643-2 \u0026amp; 3644-2 ∙ First issued on Columbia L 2312\/3\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\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 1, Op. 138\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 3, Op. 72b\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:07)\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 (78:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWEBER: Der Freischütz – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWEBER: Euryanthe – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWEBER: Oberon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBERLIOZ: The Damnation of Faust, Op. 24\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Dance of the Sylphs\u003cspan style=\"font-size: 12px;\"\u003e (2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Hungarian March\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5044-2, 5045-2, 5046-2 \u0026amp; 5047-2 ∙ First issued on Columbia L 2362\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1543-3 \u0026amp; 1542-2 ∙ First issued on Columbia L 1810\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\u003eLISZT: Les Préludes, G97\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (15:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eEarly Versions and Alternate Takes\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1546-2 \u0026amp; 1547-2 ∙ First issued on Columbia L 1848\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\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1544-3 \u0026amp; 1545-1 ∙ First issued on Columbia L 1799\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-2 ∙ First issued on Columbia 9560\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-1 ∙ First issued on American Columbia 67486-D\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration:  2hr 33:24\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;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 20px;\"\u003eColumbia Recordings ∙ Volume II\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (73:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eWAGNER: Tannhäuser – Overture (Dresden version)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6413-3, 6414-3, 6415-2 \u0026amp; 6416-1 ∙ First issued on Columbia LX 170\/1\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: Lohengrin – Prelude to Act 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2839-1 \u0026amp; 2840-2 ∙ First issued on Columbia L 1948\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\u003eBRAHMS: Academic Festival Overture, Op. 80\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5596-1, 5597-2 \u0026amp; 5598-2 ∙ First issued on Columbia LX 58\/9\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Un poco allegretto e grazioso\u003cspan style=\"font-size: 12px;\"\u003e (4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5608-2 ∙ First issued on Columbia LX 59\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt.: Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (13:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (7:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt.: Poco allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt.: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6417-2, 6418-1, 6419-2, 6420-1, 6421-2, 6422-2, 6423-3 \u0026amp; 6424-2 ∙ First issued on Columbia LX 220\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6425-2 \u0026amp; 6426-2 ∙ First issued on Columbia LX 179\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 6428-1 ∙ First issued on Columbia LX 240\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5048-3 ∙ First issued on Columbia DX 6\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 (65:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eSUPPÉ: Poet and Peasant – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II: Perpetuum Mobile, Op. 257\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eBIZET: L’Arlésienne - Adagietto\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG: Two Elegiac Melodies, Op. 34\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e No. 1 – Heart Wounds (Hjertesår)\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 2 – The Last Spring (Våren)\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6140-2 \u0026amp; 6141-1 ∙ First issued on Columbia LX 168\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER\u003c\/b\u003e: Symphony No. 5 in C sharp minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th Mvt.: Adagietto: Sehr langsam\u003cspan style=\"font-size: 12px;\"\u003e (7:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5603-1, 5604-1, 5605-1 \u0026amp; 5606-2 ∙ First issued on Columbia LX 48\/9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1548-2 \u0026amp; 1549-2 ∙ First issued on Columbia L 1768\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\u003eRAVEL: Boléro\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (14:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eEarly Versions and Alternate Takes\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eWAGNER: Tannhäuser – Overture (Dresden version)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (14:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1538-1, 1539-3, 1540-2 \u0026amp; 1541-3 ∙ First issued on Columbia L 1770\/1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd Mvt.: Waltz\u003cspan style=\"font-size: 12px;\"\u003e (3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3646-1 ∙ Take unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWillem Mengelberg and the Concertgebouw 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, Frank Forman and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 18:29\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":32954858733629,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205529747790,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX032_c161586f-3b20-413d-b4b6-99f022e52869.jpg?v=1773923374"},{"product_id":"pabx032-cd","title":"MENGELBERG The Complete Columbia Concertgebouw Recordings (1926-32) - PABX032 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":55205529682254,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC616_cc4d2946-49d4-4339-892e-35868826f34d.jpg?v=1657122641"},{"product_id":"pasc642","title":"ZEMLINSKY The Complete Recordings (1927-1934) - PASC642","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003eMusic by:\u003cbr\u003e\u003cb\u003eMOZART, BEETHOVEN, WEBER, ROSSINI, FLOTOW, MAILLART, J STRAUSS II, VERDI, PUCCINI, SMETANA, DVOŘÁK, FIBICH, WEINBERGER\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1927-1934\u003cbr\u003eTotal duration: 1hr 54:03\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVarious Soloists\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVarious Orchestras\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlexander von Zemlinsky\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC642.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cem\u003e\n            I have admired the work of many conductors during my long career .\n            . . But I think that of all those I have heard I would nominate\n            Alexander von Zemlinsky as the all-round conductor who achieved the\n            most consistently high standard, and that is a mature judgement. I\n            remember a performance of the “Marriage of Figaro” by him in Prague\n            as the most satisfying operatic experience of my life.\n        \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eIgor Stravinsky, 1964\u003c\/b\u003e\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \n        For today’s listeners, the name of Alexander von Zemlinsky is most\noften associated with such late-Romantic era compositions as the\u003cem\u003eLyric Symphony\u003c\/em\u003e, the massive tone poem,\u003cem\u003eDie Seejungfrau\u003c\/em\u003e (\u003cem\u003eThe Mermaid\u003c\/em\u003e), and the opera        \u003cem\u003eDer Zwerg\u003c\/em\u003e (\u003cem\u003eThe Dwarf\u003c\/em\u003e). But this focus on Zemlinsky as\n        composer only dates from the 1970s onward, as his output was\n        rediscovered by a new generation of concert goers and record\n        collectors. For most of his later career, and for decades after his\n        death, Zemlinsky was primarily remembered as an opera conductor who\n        left a small number of recordings made in the late 1920s and early\n        ‘30s. The present release, issued on the occasion of the 150th\n        anniversary of Zemlinsky’s birth (14 October 1871), brings together for\n        the first time all of his extant recordings, including two titles\n        unpublished on 78 rpm discs.\n    \n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Zemlinsky was born in Vienna and was accepted into the Conservatory there\n    as a piano student at the age of thirteen, where he also studied\n    composition under Bruckner. His early works showed the influence of Brahms,\n    who became an influential supporter. In an amateur orchestra he had founded\n    in 1895, Zemlinsky met Arnold Schoenberg, who was to become his close\n    friend, student (in counterpoint) and brother-in-law, when he married\n    Zemlinsky’s sister.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Zemlinsky’s reputation as a composer began to rise with the success of his\n    Second Symphony at its Viennese première in 1897. Three years later, Mahler\nconducted the first performance of Zemlinsky’s opera,    \u003cem\u003eEs war einmal\u003c\/em\u003e (\u003cem\u003eOnce Upon a Time\u003c\/em\u003e) at the Vienna Court\n    Opera. It was around this time that Zemlinsky took on Alma Schindler as a\n    composition student. The two began a romantic relationship which she ended,\n    subsequently marrying Mahler in 1902.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Zemlinsky served in a number of conductorial positions, first in Vienna,\n    then from 1911 to 1927 at the Deutsches Landestheater in Prague. In 1924,\n    he moved to Berlin, where he continued to teach and also conduct at the\n    Kroll Opera, until the rise of the Nazis in 1933 forced him to return to\n    Vienna. Following Schoenberg, he moved to America in 1938, but found few\n    opportunities there. He died in Larchmont, New York in 1942.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    What strikes modern listeners about his recordings is their directness and\n    lack of the sort of willfulness commonly associated with conductors of his\n    era. In a previous reissue of some of these recordings, musicologist Helmut\n    Haack wrote: “Zemlinsky’s approach is analytical. He brings each and every\n    theme to life according to its own character so that each interpretation\n    seems the definitive one . . . By this means, Zemlinsky exposes the formal\n    structure of each piece. Scrupulous attention to every detail without\n    detaching it from its context allows him to approach Flotow and Maillart as\n    whole-heartedly as classical composers such as Mozart and Beethoven.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Zemlinsky’s published orchestral recordings have been reissued on CD twice\n    before, first by Koch-Schwann, and later by Archiphon. The latter included\n    the first release of one version of the \u003cem\u003eFreischütz\u003c\/em\u003e Overture,\n    transferred from a tape source so dim and muffled as to be almost\n    unlistenable. The operatic accompaniments have been issued on various CDs\n    associated with their singers (on Preiser and Supraphon), except for the\nGerlach-Rusnak sides, which have only been commercially reissued on LP. The    \u003cem\u003eFledermaus\u003c\/em\u003e Overture and one version of the \u003cem\u003eFreischütz\u003c\/em\u003e\n    make their first appearances on this release.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eALEXANDER VON ZEMLINSKY The Complete Recordings\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eMOZART Don Giovanni - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (6:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1927 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 709 \u0026amp; 710 bm ∙ First issued on Grammophon 19796\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\u003eMOZART Cosí fan tutte - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1927 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 711 ½ bm ∙ First issued on Grammophon 19817\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eMOZART Die Entführung aus dem Serail \u003c\/b\u003e \u003cb\u003e- Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1927 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 712 bm ∙ First issued on Grammophon 19817\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eBEETHOVEN Fidelio - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded January 1929 in the Hochschule für Musik, Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1897 \u0026amp; 1898 ½ BK I ∙ First issued on Grammophon 62667\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eWEBER Der Freischütz - Overture\u003c\/b\u003e (Takes 1-1-1)\u003cspan style=\"font-size: 12px;\"\u003e  (9:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1927 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 718, 719 \u0026amp; 720 bm ∙ Unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eWEBER Der Freischütz - Overture\u003c\/b\u003e (Takes 1-2-2)\u003cspan style=\"font-size: 12px;\"\u003e  (9:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1927 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 718, 719 ½ \u0026amp; 720 ½ bm ∙ Unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eROSSINI La gazza ladra - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (8:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded January 1929 in the Hochschule für Musik, Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1575 \u0026amp; 1576 bm I ∙ First issued on Grammophon 66856\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eFLOTOW Alessandro Stradella - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e   (8:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded September 1928 in the Hochschule für Musik, Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1345 \u0026amp; 1346 bm I ∙ First issued on Grammophon 66795\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eMAILLART Les Dragons de Villars - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (6:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded September 1928 in the Hochschule für Musik, Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 1347 ½ \u0026amp; 1348 ½ bm I ∙ First issued on Grammophon 66796\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\u003eJ. STRAUSS II Die Fledermaus - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1927 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 716 \u0026amp; 717 bm ∙ Unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eSMETANA Vltava from Má vlast\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (10:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 15 April 1930 in Studio Wilhelmsaue, Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 30467\/9 ∙ First issued on Ultraphon E 465\/6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWEINBERGER Polka from Schwanda the Bagpiper\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 15 April 1930 in Studio Wilhelmsaue, Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 30470 ∙ First issued on Ultraphon E 466\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI Il Trovatore\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Ah, sì, ben mio\u003cspan style=\"font-size: 12px;\"\u003e (3:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 October 1932 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 0D 1166-2 ∙ First issued on Electrola EG 2636\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 October 1932 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 0D 1167-2 ∙ First issued on Electrola EG 2636\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Di quella pira\u003cspan style=\"font-size: 12px;\"\u003e (2:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI Tosca\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Recondita armonia\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 October 1932 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 0D 1168-2 ∙ First issued on Electrola EG 2637\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 October 1932 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 0D 1169-1 ∙ First issued on Electrola EG 2637\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16 \u0026amp; 18 January 1933 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WR 403-2 \u0026amp; 404-2 ∙ First issued on Columbia DW 3047\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e E lucevan le stelle\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNICOLAI Die lustigen Weiber von Windsor\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e In einem Waschkorb?\u003cspan style=\"font-size: 12px;\"\u003e (6:07)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSMETANA The Bartered Bride\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Každý jen tu svou\u003cspan style=\"font-size: 12px;\"\u003e (4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16 or 18 January 1933 in Berlin \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WRX 9-1 ∙ First issued on Columbia DWX 5037\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eFIBICH Poème\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded February 1934 in Vienna \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: Ve 2124-1 ∙ First issued on Odeon O-25387\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eDVOŘÁK Humoresque\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded February 1934 in Vienna \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: Ve 2125-1 ∙ First issued on Odeon O-25387\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Gerlach-Rusnak\u003c\/b\u003e (tenor) (CD 2, Tracks 5 - 8)\u003cbr\u003e\u003cb\u003eGerhard Hüsch\u003c\/b\u003e (baritone) (CD 2, Track 9)\u003cbr\u003e\u003cb\u003eEugen Fuchs\u003c\/b\u003e (bass) (CD 2, Tracks 9 - 10)\u003cbr\u003e\u003cb\u003eCharles Kullmann\u003c\/b\u003e (tenor) (CD 2, Track 10)\u003cbr\u003e\u003cb\u003eJarmila Novotná\u003c\/b\u003e (soprano) (CD 2, Tracks 11 - 12)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin-Charlottenburg Opera Orchestra (Orchester der Städtischen Oper) (CD 1, Tracks 1\u003c\/b\u003e – 3 and CD 2, Tracks 5 - 10)\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra (CD 1, Tracks 4\u003c\/b\u003e – 8 and CD 2, Tracks 1 - 2)\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra (CD 2, Tracks 3\u003c\/b\u003e – 4)\u003cbr\u003e\u003cb\u003eVienna Concert Orchestra (CD 2, Tracks 11\u003c\/b\u003e – 12)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAlexander von Zemlinsky\u003c\/b\u003e (conductor)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2, Tracks 5 - 10 sung in German\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2, Tracks 11 - 12 sung in Czech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer:\u003cb\u003e Mark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to James H. North and the Yale Collection of Historical Sound Recordings (Mark Bailey, director) for providing source material, and to Oliver Wurl for discographic information.\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of \u003cb\u003eAlexander von Zemlinsky\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 54:03\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eCD1: 58:33 CD2: 55:30\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\/PASC642.png578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC642.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":39404458082365,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205525422414,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC642.png?v=1631851208"},{"product_id":"pasc642-cd","title":"ZEMLINSKY The Complete Recordings (1927-1934) - PASC642 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC642.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205525389646,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC642_463122a4-dc97-4d50-aaa7-cbf9b4f1df02.png?v=1658751666"},{"product_id":"pasc643","title":"MONTEUX The First NBC SO Concerts, Vol. 2: Griffes, Handel, Ravel, Sibelius, Wagner, Weber (1937) - PASC643","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eEuryanthe - Overture\u003cbr\u003e\u003cb\u003eHANDEL \u003c\/b\u003eConcerto Grosso In D\u003cbr\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 1 (mvts. 2 \u0026amp; 3)\u003cbr\u003e\u003cb\u003eGRIFFES \u003c\/b\u003eThe Pleasure Dome Of Kubla Khan\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eLohengrin - Prelude\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis Et Chloé Suite No. 2\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recording, 1937\u003cbr\u003eTotal duration: 78:27\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC643.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"The performances reveal the qualities that made Monteux such a beloved figure in Europe and the United States for many decades. He was one of those rare conductors who could make a performance sound special without any specific interpretive idiosyncrasy. There is nothing in his music-making that calls attention to itself, and yet the listener is completely drawn into the music’s spell. Monteux himself has been quoted as saying “I have no interpretation; I play the music.” \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eClarity of texture was one of his principal virtues. Monteux took great care in balancing different voices so that everything sounded in the right proportion to everything else. Several orchestral musicians who played under Monteux spoke to me with a reverence towards him that is reserved for very few conductors. More than one musician said something like, “You always gave him everything, because his technique was so clear and because he treated the orchestra so professionally.” There is a particular degree of intensity in the playing here because of the relationship between Monteux and the players, but moreover because of the momentous nature of the occasion...\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThroughout, the NBC Symphony plays remarkably well, especially considering that this was its inaugural concert as an ensemble, and that it had been assembled and trained in only a few months. Pristine maintains the sense of history by including the opening and closing radio announcements (tracked separately), but they omitted the announcements between pieces in order to fit the concert on one disc. Beyond is historical significance, this is a shining example of one of the 20th century’s great conductors heard at his best.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e, \u003ci\u003eFanfare \u003c\/i\u003emagazine, excerpts from review of Volume 1, Nov-Dec 2021\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first few concerts broadcast by the NBC Symphony Orchestra in the autumn of 1937 were somewhat unusual in their programming: one senses a need or desire to cram as much as possible into the available air-time, at the expense of allowing for longer works to be played in their entirety. Thus the second concert features no less than six different works, but only half a symphony - we get just the second and third movements of the first Sibelius symphony rather than the whole thing. (N.B. The apparent reversal of the fifth and sixth movements of the Handel is not a typo - Monteux re-ordered the Concerto Grosso for this performance.)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePerhaps this is still an orchestra being put through its paces. Having been initially set up by Artur Rodziński, who took the early rehearsals at the request of Toscanini, of the six concerts given before the Italian maestro took charge of his orchestra on Christmas Day 1937 with a concert that featured two full-length symphonies, Pierre Monteux was drafted in to conduct the first three broadcasts, Rodziński being unavailable due to prior commitments to his Cleveland Orchestra. The match was a happy one, and Monteux would return the following spring for two further concerts.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis second concert has not survived in quite as good condition sonically as the first - it arrives surprisingly varied: though never especially poor the sparkle is missing in the upper frequencies at times, though at its best it's very good for 1937. Again I've had to cull announcements during the concert in order to keep everything with the duration available to me on a single CD.\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 style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMONTEUX \u003c\/b\u003eThe First NBC SO Concerts, Vol. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e RADIO Opening Announcement\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWEBER \u003c\/b\u003eEuryanthe - Overture\u003cspan style=\"font-size: 12px;\"\u003e (7:59)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eConcerto Grosso in D major, Op. 6, No. 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Larghetto e staccato\u003cspan style=\"font-size: 12px;\"\u003e (1:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd mvt. - Presto\u003cspan style=\"font-size: 12px;\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th mvt. - Largo\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 6th mvt. - Menuet\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 5th mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (2:59)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 1 in E minor, Op. 39\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2nd mvt. - Andante (ma non troppo lento)\u003cspan style=\"font-size: 12px;\"\u003e (9:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 3rd mvt. - Scherzo: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eGRIFFES \u003c\/b\u003ethe Pleasure Dome of Kubla Khan\u003cspan style=\"font-size: 12px;\"\u003e (9:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eWAGNER \u003c\/b\u003eLohengrin - Prelude\u003cspan style=\"font-size: 12px;\"\u003e (8:45)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 1. Lever de jour\u003cspan style=\"font-size: 12px;\"\u003e (5:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e 2. Pantomime\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e 3. Danse générale\u003cspan style=\"font-size: 12px;\"\u003e (3:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e RADIO Closing Announcement\u003cspan style=\"font-size: 12px;\"\u003e (2:46)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLive broadcast from Studio 8H, Radio City, New York City: 10pm, 20 November 1937\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pierre Monteux\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:27\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\/PASC643.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC643.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":39407963471933,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205525324110,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205525356878,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC643_b0546a38-77a7-423f-9cc1-4a5dfd92f3d2.jpg?v=1632456904"},{"product_id":"pasc643-cd","title":"MONTEUX The First NBC SO Concerts, Vol. 2: Griffes, Handel, Ravel, Sibelius, Wagner, Weber (1937) - PASC643 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC643.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205525291342,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC643.jpg?v=1658751696"},{"product_id":"pasc656","title":"BUSCH in Copenhagen: Mozart, Bach, Dvořák, Weber (1933-1951) - PASC656","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 36 ‘Linz’\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eEine Kleine Nachtmusik\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eGerman Dances \u0026amp; Contredanses\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 21 (fragments)\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eDie Freischutz Overture\u003cbr\u003e\u003cb\u003eBACH \u003c\/b\u003eViolin Concerto - 3rd mvt.\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eKarneval Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio \u0026amp; live recordings, 1933-1951\u003cbr\u003eTotal duration: 74:46\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Serkin\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eAdolf Busch\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eRadio-Symfoniorkestret\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFritz Busch\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC656.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The collaboration of Fritz Busch with the orchestra of the Danish\n    Statsradiofonien goes well back into the 1930s – in 1937 he was appointed\n    Principal Conductor – and it is striking when in the concert review of 18\n    January 1951 the \u003cem\u003eNationaltidende\u003c\/em\u003e at length reports: \"Fritz Busch\n    is back, and last night he bestowed the Thursday concert aga in with his\n    distinctive imprint. How he is jumping around with the orchestra! He knows\n    each and every one of the excellent musicians, and they know him and what\n    each of his gestures means, from the very small movements to the big\n    explosions - and the orchestra obeys his word.\" After the war, however, the\n    good cooperation clouded over, not least because other conductors who had\n    stayed in Europe had taken his place.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present disc particularly focuses on music by Mozart, containing not\n    just all the Mozart studio recordings that Busch made for the Swiss firm\n    Turicaphon and for His Master’s Voice, but also a couple of surviving live\n    performances, from as early as 1933 to 1935. Sadly neither the Mozart Piano\n    Concerto (the only recorded rendering of Busch together with his\n    nephew-in-law, Rudolf Serkin) nor the Bach E major Violin Concerto (the\n    only recorded rendering of a Bach concerto performed by Fritz and his\n    brother Adolf together) have survived complete; in addition to these\n    fragments we have Dvořák‘s \u003cem\u003eKarneval\u003c\/em\u003e overture in Busch‘s 1933\n    rendering (another, 1950 live performance with the same orchestra, taped at\n    the Edinburgh festival, has been published elsewhere). And it is apt to\naccompany this performance with the 1948 studio recording of Weber’s    \u003cem\u003eFreischütz\u003c\/em\u003e Overture. Studio recordings of the orchestra with Busch\n    for record companies were made only from 1947, beginning with Brahms’s\n    Second Symphony (PASC 570) and ending in January 1951 with Haydn’s Sinfonia\n    concertante (PASC 622) and, as a filler for the last shellac side, three\n    Kontretänze by Mozart. Busch had recorded orchestral Deutsche Tänze and\n    Kontretänze by Mozart from as early as c. 1920, and he may have\n    particularly liked them as he saw in them freshness and invention combined\n    even in the smallest miniature, may in them indeed have recalled his\n    beginnings as a child playing dance music in the local pubs. The three\n    Deutsche Tänze he had recorded in 1948, accompanying the ‘Kleine\n    Nachtmusik’, were, like the \u003cem\u003eFreischütz\u003c\/em\u003e Overture, released only\n    with much delay, Busch frequently having to ask the Zurich-based company\n    Turicaphon for reference copies. Nor was he happy with His Master’s Voice,\n    who by 1949 were running short of funds and paid Busch as little as\n    possible. The 1949 ‘Linz’ Symphony is Busch’s second studio recording of\n    the work, the other one having been made with the B.B.C. Symphony Orchestra\n    in London in 1934.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    For a considerable period Busch had made Denmark his home, and even after\n    he had to flee from Europe in 1940 he kept in constant contact with the\n    orchestra. He did not claim all of his scores and performing materials,\n    which remained safe and secure in the Copenhagen Statsradiofoniens archives\n    until after his death.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003e\u003cb\u003eJürgen Schaarwächter\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003eMax-Reger-Institut with BuschBrothersArchive, Karlsruhe\n\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: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBUSCH \u003c\/b\u003ein Copenhagen (1933-1951)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eWEBER \u003c\/b\u003eDer Freischutz, Op. 77, Overture\u003cspan style=\"font-size: 12px;\"\u003e (8:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrices: 4001I\/4002III (Turicaphon\/Elite TK 7059)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eStudio rec. 22 October 1948, Statsradiofonien, Koncertsalen\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No.21 in C major, K.467\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st mvt . - Allegro maestoso (fragment 1)\u003cspan style=\"font-size: 12px;\"\u003e (2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st mvt. - Allegro maestoso (fragment 2)\u003cspan style=\"font-size: 12px;\"\u003e (3:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRudolf Serkin\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive rec. 10 January 1935, Statsradiofonibygningen, Teatersalen\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDeutsche Tänze, K571\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e No. 1\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 5\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e No. 6\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio rec. 22 October 1948, Statsradiofonien, Koncertsalen\u003cbr\u003eMatrix: 4003 (Turicaphon\/Elite TK 7061)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eKontretänze, K609\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e No. 1\u003cspan style=\"font-size: 12px;\"\u003e (0:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e No. 2\u003cspan style=\"font-size: 12px;\"\u003e (0:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e No. 4\u003cspan style=\"font-size: 12px;\"\u003e (2:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio rec. 27 January 1951, Statsradiofonien, Koncertsalen\u003cbr\u003eMatrix: 2CS 2917-3A (His Master’s Voice C.4124)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 36 in C major, K425 'Linz'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 1st mvt. - Adagio - Allegro spiritoso\u003cspan style=\"font-size: 12px;\"\u003e (7:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 2nd mvt. - Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (7:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e 3rd mvt. - Menuetto\u003cspan style=\"font-size: 12px;\"\u003e (3:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e 4th mvt. - Presto\u003cspan style=\"font-size: 12px;\"\u003e (5:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio rec. 7 November 1949, Statsradiofonien, Koncertsalen\u003cbr\u003eMatrices: 2CS 2707\/2708\/2709\/2710\/2711\/2712 (His Master’s Voice DB 20115\/7)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSerenade No. 13 in G major, K525, 'Eine kleine Nachtmusik'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e 1st mvt. - Allegro\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e 2nd mvt. - Romanze. Andante\u003cspan style=\"font-size: 12px;\"\u003e (4:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e 3rd mvt. - Menuetto. Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e 4th mvt. - Rondo. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (4:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio rec. 23 \u0026amp; 24 October 1948, Statsradiofonien, Koncertsalen\u003cbr\u003eMatrices: 4004–4007 (Turicaphon\/Elite TK 7057\/8)\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e18. \u003cb\u003eJ S BACH\u003c\/b\u003e Violin Concerto in E major, BWV 1042\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eIll. Allegro assai (2:47)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAdolf Busch\u003c\/b\u003e, violin\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive rec. 29 November 1934, Statsradiofonibygningen, Teatersalen\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cb\u003eDVOŘÁK \u003c\/b\u003eKarneval, Concert Overture, Op. 92\u003cspan style=\"font-size: 12px;\"\u003e (9:20)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive rec. 23 November 1933, Statsradiofonibygningen, Teatersalen\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRadio-Symfoniorkestret\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFritz Busch\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 Fritz Busch taken in 1951\u003cbr\u003eSpecial thanks to Dr. Jürgen Schaarwächter\u003cbr\u003eProduced in co-operation with the Max-Reger-lnstitut\/BuschBrothersArchive, Karlsruhe, Germany\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 74:46\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\/PASC656.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC656.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":39805403824189,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205523128654,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205523161422,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC656.jpg?v=1647255749"},{"product_id":"pasc656-cd","title":"BUSCH in Copenhagen: Mozart, Bach, Dvořák, Weber (1933-1951) - PASC656 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC656.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205523095886,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC656_e6a213d7-7913-4f70-bdaf-c2b1a215d0bd.jpg?v=1658751987"},{"product_id":"pasc660","title":"SZIGETI The European Columbia Recordings, Volume 2 (1926-36) - PASC660","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eViolin Sonata No. 3\u003cbr\u003e\u003cb\u003ePAGANINI \u003c\/b\u003eCaprices\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eRondo\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-1936\u003cbr\u003eTotal duration: 74:23\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJoseph Szigeti\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eKurt Ruhrseitz\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eNikita Magaloff\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eBritish Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC660.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Joseph Szigeti was born in Budapest in 1892. After showing promise on the\n    violin at a very young age, he was accepted as a student by Jenő Hubay and\n    made his Berlin debut at thirteen. Shortly thereafter, he settled in\n    England for several years. It was during this period that he met Ferruccio\n    Busoni, who was to become a major influence in moving the young prodigy\n    from being merely a talented virtuoso toward becoming a more intellectual\n    and analytical musician.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    A stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced\n    Szigeti to a fellow Hungarian who was to become another major influence on\n    him as a musician and a lifelong friend, Béla Bartók. Szigeti remained in\n    Switzerland for several years, teaching and expanding his facility in\n    playing chamber works. In 1925, he played for a visiting Leopold Stokowski,\n    and was quickly invited to make his American debut. He shortly became\n    established internationally as a concert artist. He settled in the USA in\n    1940, and continued his concert career for another twenty years before\n    retiring to write and teach. He died in 1973.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Szigeti’s earliest recordings were made in England for the Gramophone and\n    Typewriter Company between 1908 and 1913. He made no further discs during\n    the acoustic era, save for a handful recorded in Russia in either 1924 or\n    1926. In the latter year, he began an association with English Columbia\n    that lasted for eleven years, with one session for their Japanese affiliate\n    in 1931 that produced four sides. In 1938, he began recording for American\n    Columbia, where he remained until 1956, with one set (the Bloch Concerto)\n    done for French Columbia in 1939, a single disc made for the American New\n    Music Quarterly label in 1941, and a return to English Columbia for four\n    sides in 1946. His final recordings were made for Mercury in 1959-61.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This series will present all of the Columbia recordings he made in Britain,\n    France and Japan, as well as the one New Music Quarterly disc, as a\n    complement to Sony’s recent set comprising his American Columbia\n    recordings. From the 1940s onward, Szigeti began to experience increasing\n    technical problems. American Columbia passed on releasing his 1955-56\n    recordings of Bach Sonatas and Partitas as well as several contemporaneous\n    LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard.\n    Szigeti himself ruefully referred to his final Mercury LPs as his\n    “posthumous recordings”. The performances featured here and in the coming\n    volumes are generally judged to be his finest on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Our second volume focuses on Classical and early Romantic repertoire.\n    Szigeti recorded the Beethoven concerto three times, twice with Bruno\n    Walter conducting. Their New York remake of fifteen years later is quite\n    similar in concept to the 1932 London version presented here, even down to\n    the timings (the last two movements are each within a second of each other,\n    while the first differs by a few more seconds due to a variant at the end\n    of the cadenza). Szigeti’s earlier performance has a headlong forward\n    momentum which was somewhat lacking in the later, somewhat more cautious\n    version.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Paganini Caprices come from a transitional period when violinists were\n    beginning to leave behind the Ferdinand David-composed piano accompaniments\n    and to play them as the composer originally intended. Both versions of\n    Caprice No. 24 used the piano arrangement. The first from 1926 was shorn of\n    repeats in order to fit it on two ten-inch sides. Two years later, Szigeti\n    would remake it complete on a twelve-inch disc. The other two Caprices made\n    a few years later were played without accompaniment. Szigeti would not\n    return to this repertoire subsequently in his recording career, so their\n    presence here is doubly valuable.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eJOSEPH SZIGETI\u003c\/b\u003e The European Columbia Recordings, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Violin Concerto in D major, Op. 61 (Cadenzas: Joachim)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st Mvt. – Allegro ma non troppo\u003cspan style=\"font-size: 12px;\"\u003e (22:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt. – Larghetto\u003cspan style=\"font-size: 12px;\"\u003e (9:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt. – Rondo: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (9:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14 April 1932 in Central Hall, Westminster \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CAX 6388-3, 6389-2, 6390-2, 6391-1, 6392-2, 6393-2, 6394-2, 6395-2, 6396-1 \u0026amp; 6397-2 ∙ First issued on Columbia LX 174\/8\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 July 1926 in the Columbia Petty France Studio, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WA 3540-3 ∙ First issued on Columbia D 1527\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 June 1927 in the Columbia Petty France Studio, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WA 5802 ∙ First issued on Columbia D 1630\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1933 in Abbey Road Studio No. 3, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CAX 6850-1 ∙ First issued on Columbia LX 630\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eBEETHOVEN (arr. Burmeister) Minuet in G \u003c\/b\u003eG167, No. 2\u003cspan style=\"font-size: 12px;\"\u003e (2:27)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eBEETHOVEN Allegro vivace from Violin Sonata No. 8 in G major, Op. 30, No. 3\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (3:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eSCHUBERT (\u003ci\u003earr. Friedberg\u003c\/i\u003e) Rondo from Piano Sonata No. 17 in D major, Op. 53 (D850)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e    (4:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e (arr. Szigeti) Violin Sonata No. 3 in D minor, Op. 10\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 1st Mvt. – Air Russe: Allegretto moderato\u003cspan style=\"font-size: 12px;\"\u003e (1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 2nd Mvt. – Rondo: Presto\u003cspan style=\"font-size: 12px;\"\u003e (2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CAX 7748-1 ∙ First issued on Columbia LX 575\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24 August 1935 in Abbey Road Studio No. 3, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CAX 7588-1 ∙ First issued on Columbia LX 435\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 September 1933 in Abbey Road Studio No. 3, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CAX 6939-1 ∙ First issued on Columbia LX 263\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 September 1926 in the Columbia Petty France Studio, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WA 3968-3 \u0026amp; 3969-2 ∙ First issued on Columbia D 1581\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 June 1928 in the Columbia Petty France Studio, London \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 3744\/5∙ First issued on Columbia L 2207\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003ePAGANINI Caprice in B minor, Op. 1, No. 2\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (2:41)\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 Caprice in E major, Op. 1, No. 9 ‘La chasse’\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (3:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003ePAGANINI Caprice in A minor, Op. 1, No. 24 \u003c\/b\u003e– \u003ci\u003efirst recording\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e (5:15)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003ePAGANINI Caprice in A minor, Op. 1, No. 24 \u003c\/b\u003e– second recording\u003cspan style=\"font-size: 12px;\"\u003e (7:04)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e ∙ \u003cb\u003eBritish Symphony Orchestra\u003c\/b\u003e (Tracks 1 – 3)\u003cbr\u003e\u003cb\u003eKurt Ruhrseitz\u003c\/b\u003e, piano (Tracks 4, 5, 11 and 12)\u003cbr\u003e\u003cb\u003eNikita Magaloff\u003c\/b\u003e, piano (Tracks 6 – 8)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJoseph Szigeti\u003c\/b\u003e, violin\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal timing: 74:23\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\/PASC660.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC660.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":39887341420605,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205522538830,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC660_05989513-1fcf-4a8d-aa21-1a6b6fe87b73.jpg?v=1650600905"},{"product_id":"pasc660-cd","title":"SZIGETI The European Columbia Recordings, Volume 2 (1926-36) - PASC660 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":40096487505981,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205522473294,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC660.jpg?v=1658994336"},{"product_id":"pasc680","title":"SEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026 Khachaturian (1941-53) - PASC680","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003eCoppélia - Suite\u003cbr\u003e\u003cb\u003eDELIBES \u003c\/b\u003eSylvia - Suite\u003cbr\u003e\u003cb\u003eKHACHATURIAN \u003c\/b\u003eMasquerade - Suite\u003cbr\u003emusic by \u003cb\u003eKREISLER, SGAMBATI, WEBER, J. STRAUSS II\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1941-1953\u003cbr\u003eTotal duration: 71:43\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFabien Sevitzky\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    For this final volume in our series of Fabien Sevitzky’s complete\n    recordings with the Indianapolis Symphony, we present a program largely\n    devoted to dance music (three ballet suites, a minuet and two waltzes).\n    None of the works have ever received an “official” CD release, and the\n    Kreisler, Sgambati, Weber and Strauss pieces never even appeared on LP.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Our program begins with two works featuring Romantic era composers dabbling\n    in the forms of earlier times. Fritz Kreisler wrote a number of pieces for\n    violin in Baroque and early Classical styles, ascribing them to then\n    little-known composers such as Gaetano Pugnani. When his hoax was revealed\n    in 1935, some critics who had been taken in were apoplectic. Nonetheless,\nsome of the pieces have stayed in the repertoire, including his 1905    \u003cem\u003ePraeludium and Allegro\u003c\/em\u003e, which Sevitzky transcribed for full\n    orchestra in much the same “big band” manner that his conducting\n    contemporaries like Stokowski, Henry Wood and Barbirolli were then using to\n    orchestrate Bach, Handel and Purcell.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Giovanni Sgambati wrote his \u003cem\u003eVecchio Minuetto\u003c\/em\u003e in 1885 for solo\n    piano, looking back to the 18th Century dance that Haydn and Mozart\n    incorporated into many of their orchestral works. Appropriately, Sevitzky’s\n    performance was originally issued as the filler side to his recording of\n    Haydn’s Symphony No. 73 (reissued on Pristine \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc650\"\u003ePASC 650\u003c\/a\u003e\u003c\/i\u003e). Both this and the\n    next work, a Weber waltz, were orchestrated by Russian-American composer\n    Arcady Dubensky, who in the latter case took Weber’s original piano solo in\n    B-flat and transcribed it in D. Sevitzky recorded several of Dubensky’s\n    compositions, both with the Indianapolis Symphony (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc509\"\u003ePASC 509\u003c\/a\u003e\u003c\/i\u003e) and earlier\n    with his Philadelphia Chamber String Simfonietta (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc375\"\u003ePASC 375\u003c\/a\u003e\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Could it be a coincidence that the only Johann Strauss waltz that Sevitzky\n    ever recorded, \u003cem\u003eFr\u003c\/em\u003e\u003cem\u003eü\u003c\/em\u003e\u003cem\u003ehlingsstimmen\u003c\/em\u003e, was also one of\n    only two that his more famous uncle Serge Koussevitzky had set down 13\n    years earlier for the same label? In the event, Sevitzky proves himself to\n    be an entirely idiomatic interpreter, even though he had to drop a repeated\n    phrase and speed up a bit toward the end to get his reading to fit onto one\n    78 rpm side. It is a performance to make one wish he had recorded more of\n    this repertoire.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The two Delibes ballet suites were recorded at Sevitzky’s last session for\n    Victor in 1946, although they were kept “in the can” for three years before\n    being issued. In transferring these from their original LP issue (LM-1032,\nreleased in 1950), I was surprised to find that the “Czardas” from\u003cem\u003e Copp\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003elia\u003c\/em\u003e had been moved to the beginning of the    \u003cem\u003eSylvia\u003c\/em\u003e Suite. Evidently, no one noticed the mistake, and it was\n    never corrected during the disc’s relatively brief life in the catalog\n    before it was replaced by a Monteux\/Boston LP featuring the same suites in\n    a somewhat different selection and ordering of excerpts. (Its position has\n    been corrected here.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Khachaturian was one of only two LPs Sevitzky taped for Capitol at his\n    final recording sessions in 1953. Two years later, he left the Indianapolis\n    Symphony to teach at the University of Miami and guest conduct\n    internationally. During one such appearance, he died in Athens in 1967.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    According to the Sevitzky\/Indianapolis discography compiled by Frederick P.\n    Fellers, of the 43 titles which Sevitzky recorded with the Indianapolis\n    Symphony, no fewer than 12 were never issued. Most of these works were by\n    American composers, whom Sevitzky particularly championed by including one\n    on every program he conducted; but there were others by Bach, Berlioz,\n    Mozart and Verdi which were bypassed for release, as well. It is hoped that\n    someday, these will join the works on the six CDs of the present series,\n    and expand the known performances of this dynamic conductor.\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\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eKREISLER (orch. Sevitzky) Praeludium and Allegro (in the Style of Pugnani)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 January 1942 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 071328-1 \u0026amp; 071329-2 ∙ First issued on Victor 11-8439\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 February 1945 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: D5-RC-825-1 ∙ First issued on Victor 12-0954 in album M-1312\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 January 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CS 057596-1 ∙ First issued on Victor 11-8609\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 January 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CS 057590-1 ∙ First issued on Victor 11-8609\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\u003eSGAMBATI (orch. Dubensky) Vecchio Minuetto\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWEBER (orch. Dubensky) Waltz (No. 5 from Favoritenwalzer)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (2:15)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II Voices of Spring (Frühlingsstimmen) – Waltz, Op. 410\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (5:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES\u003c\/b\u003e Coppélia – Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Thème slave varié\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Danse fête\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Valse des heures\u003cspan style=\"font-size: 12px;\"\u003e (3:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Nocturne\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Danse des automates et Valse\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Czardas\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 March 1946 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: D6-RC-5260-2A, 5261-1, 5262-1A, 5263-1A, 5264-2A \u0026amp; 5265-1 ∙ First issued on RCA Victor 12-0909\/11 in album M-1305\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES\u003c\/b\u003e Sylvia – Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Prélude et Les Chasseresses\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Intermezzo et Valse lente\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Pizzicati\u003cspan style=\"font-size: 12px;\"\u003e (1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Cortège de Bacchus\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 March 1946 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: D6-RC-5266-2, 5267-2A, 5268-1 \u0026amp; 5269-1 ∙ First issued on RCA Victor 12-0912\/13 in album M-1305\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eKHACHATURIAN\u003c\/b\u003e Masquerade – Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Waltz\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Nocturne\u003cspan style=\"font-size: 12px;\"\u003e (4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Mazurka\u003cspan style=\"font-size: 12px;\"\u003e (2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Romance\u003cspan style=\"font-size: 12px;\"\u003e (3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Galop\u003cspan style=\"font-size: 12px;\"\u003e (2:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22-23 January 1953 \u003cspan style=\"font-size: 12px;\"\u003e∙ First issued on Capitol P-8223\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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 works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTotal Timing: 71:43\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\/PASC680.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC680.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":40424973107261,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205518868814,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC680_62171ed5-7612-44d5-a8c0-5f405e4b93f8.jpg?v=1671167705"},{"product_id":"pasc680-cd","title":"SEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026 Khachaturian (1941-53) - PASC680 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":40424968060989,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205518836046,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC680_5ae26905-a574-49bf-83e8-abee4f0f2687.jpg?v=1671197967"},{"product_id":"pabx040","title":"SEVITZKY and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53) - PABX040","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY, GLINKA, RIMSKY-KORSAKOV, LIADOV\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eGLAZUNOV \u003c\/b\u003eFrom the Middle Ages\u003cbr\u003e\u003cb\u003eDUBENSKY \u003c\/b\u003eStephen Foster – Theme, Variations and Finale\u003cbr\u003e\u003cb\u003eDUBENSKY \u003c\/b\u003eFugue for 18 Violins\u003cbr\u003e\u003cb\u003eCESANA \u003c\/b\u003eNegro Heaven\u003cbr\u003e\u003cb\u003eGERSHWIN-BENNETT\u003c\/b\u003e Porgy and Bess: A Symphonic Picture\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eKHATCHATURIAN \u003c\/b\u003eGayaneh – Ballet Suite \u003cb\u003eENESCU \u003c\/b\u003e2 Romanian Rhapsodies\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003e4 Slavonic Dances\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003e3 Hungarian Dances\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 1, 'Winter Dreams'\u003cbr\u003e\u003cb\u003eKALINNIKOV \u003c\/b\u003eSymphony No. 1\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eL’Isola Disabitata – Overture\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 73, “La Chasse”\u003cbr\u003e\u003cb\u003eGRIEG \u003c\/b\u003eSigurd Jorsalfar – Suite\u003cbr\u003e\u003cb\u003eGRIEG \u003c\/b\u003ePeer Gynt – Suite No. 2\u003cbr\u003e\u003cb\u003eGRIEG \u003c\/b\u003eSymphonic Dances\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003eCoppélia - Suite\u003cbr\u003e\u003cb\u003eDELIBES \u003c\/b\u003eSylvia - Suite\u003cbr\u003e\u003cb\u003eKHACHATURIAN \u003c\/b\u003eMasquerade - Suite\u003cbr\u003emusic by \u003cb\u003eKREISLER, SGAMBATI, WEBER, J. STRAUSS II\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1941-53\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFabien Sevitzky\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\n\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29 \nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge \nKoussevitzky’s, his original last name was the same, but later shortened\n at his uncle’s request to avoid confusion.  Like him, Sevitzky took up \nthe double bass in order to win a conservatory scholarship.  After \nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s \nPhiladelphia Orchestra in 1923.  Two years later, he organized members \nof the ensemble’s string section into the Philadelphia Chamber String \nSimfonietta.  (Their complete recordings have been reissued on Pristine \nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he \ncontinued to conduct the chamber ensemble until 1941.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSevitzky was appointed conductor of the Indianapolis Symphony \nOrchestra in 1937, a post he held until 1955.  He retired to Florida, \nwhere he became a faculty member at the University of Miami, leading the\n school’s orchestra and continuing to guest conduct internationally.  It\n was during one such appearance in Athens that Sevitzky died on 3 \nFebruary 1967.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony \nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\n were made for Capitol LPs in 1953.  The present program is the first in\n a series which aims to reissue them all, some for the first time since \ntheir initial release.  None of them have ever received an “official” CD\n reissue.  \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\n Overture comes on like gangbusters, showing off the exuberance and \nvirtuosity of the ensemble and conductor in sound that was \nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\n revolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\n is worth noting that Sevitzky studied under both Rimsky and Liadov at \nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\n he paints a vivid tonal characterization of the same mythical witch who\n inspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e \nSymphony was the first complete version made of the work (Albert Coates \nhad previously recorded the second movement alone), and would remain the\n only one until Toscanini’s 1949 recording, with a cut of some 100 bars \nin the finale, appeared on LP.  It is dramatically paced, with much \nexcitement in the faster sections.  However, some parts are played much \nmore slowly than we are used to.  The third movement’s “Andante con \nmoto” is here more of an “Adagio molto”; and the second movement’s trio \nis not “l’istesso tempo” as marked by Tchaikovsky, but something \nconsiderably slower.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEven more curious is Sevitzky’s substitution of a snare drum \n(side drum) for the tambourine in the bacchanal which opens the fourth \nmovement.  The conductor could have interpreted the “tamb.” marked in \nthe score as referring to a “tamburo piccolo” or snare drum.  However, \nthe first page of the score spells out “tambourine”, so there should \nhave been no confusion.  Its presence here remains a mysterious \nprecedent that no other known conductor has followed.  (I am indebted to\n writer Edward Johnson for pointing this out.) \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers were American Victor 78 rpm \nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\n items; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\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 second volume of Pristine’s survey of Fabien Sevitzky’s complete\n    Indianapolis Symphony recordings couples a late Romantic Russian work with\n    the works of several American composers of (mainly) Russian extraction.\n    Sevitzky studied under Glazunov at the St. Petersburg Conservatory, and his\n    set of the suite \u003cem\u003eFrom the Middle Ages\u003c\/em\u003e was the first and only\n    complete recording of the work during the 78 rpm era. Oddly, when RCA\n    reissued the album on LP on their Bluebird label in the 1950s, the Scherzo\n    was omitted, even though the entire work could have easily fit on one side.\n    It receives its first reissue here.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Sevitzky’s commitment to the music of his adopted land was second to none\n    among prominent conductors in the USA at the time, and he tried to include\n    a composition by an American composer in each of his concerts. His Victor\n    discography lists works by Roy Harris, Harl McDonald, Leo Sowerby, David\n    Van Vactor and Robert L. Sanders which remain unreleased. All of his issued\n    recordings of works by American composers are included in the present\n    program.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Arcady Dubensky (1890 – 1966) was a Russian-born American composer,\n    arranger and violinist, who played in the New York Symphony and New York\n    Philharmonic from 1922 to 1953. During that time, he was a prolific\n    composer whose works were recorded by Leopold Stokowski as well as\n    Sevitzky. His \u003cem\u003eFugue for 18 Violins\u003c\/em\u003e was played in Philadelphia\n    during Sevitzky’s tenure as leader of that city’s Chamber String\n    Simfonietta, and his \u003cem\u003eStephen Foster\u003c\/em\u003e was premièred by Sevitzky in\n    1941. The theme is taken from “Old Folks at Home (Swanee River)”, which in\n    the finale is joined by “Oh, Susanna” and “Beautiful Dreamer”. Like\n    Dohnanyi’s \u003cem\u003eVariations on a Nursery Tune\u003c\/em\u003e, some of the variations\n    are done in the style of other composers (Richard Strauss, Tchaikovsky, et\n    al.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Otto Cesana (1899 – 1980) was a composer, conductor, jazz musician and\n    arranger who emigrated from Italy to the United States as a child, and was\n    later to lead a series of “easy listening” LPs in the 1950s. The\n    unfortunate title of his tone poem has guaranteed that it will never be\n    revived, which is a pity, given that the work itself is tuneful and\n    exuberant. Cesana wrote that his intent in the work was to illustrate the\n    changing moods of the African-American man, “now gay, now sad, always\n    however migrating toward carefreeness and abandon.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nGeorge Gershwin had arranged his own suite from his opera,    \u003cem\u003ePorgy and Bess\u003c\/em\u003e, but it was little-performed when conductor Fritz\n    Reiner commissioned American arranger Robert Russell Bennett to produce the\n    “symphonic picture” heard here. Reiner chose the excerpts, suggested their\n    order and even some of the key transpositions. Although Alfred Wallenstein\n    recorded a cut version in 1944, Sevitzky became the first conductor to\n    record it complete, beating Reiner’s Pittsburgh set by seven weeks.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Like Sevitzky’s substitution of the snare drum for the tambourine in the\n    last movement of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc479\"\u003ePASC    479\u003c\/a\u003e), there is another odd-sounding replacement here, as a bassoon “sings”\n    Porgy’s part in “I got plenty o’ nuttin”, rather than the customary banjo.\n    (Where was the banjoist from the Dubensky \u003cem\u003eStephen Foster\u003c\/em\u003e finale?)\n    Nonetheless, Sevitzky gives a highly idiomatic performance, as he did with\n    the other American music presented here.\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\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    The present release brings together several works inspired by folk dances\n    of various European and Asian peoples, in some of the earliest and latest\n    recordings made by the Indianapolis Symphony under Fabien Sevitzky. The\n    Brahms disc has not been reissued since its original 78 rpm release, while\n    the remaining recordings, first released on LP, have not been available for\n    over half a century.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Brahms Hungarian Dances date from 1942, a year after Sevitzky began\n    recording in Indianapolis for the Victor label. No orchestrator credits\n    were given on the original disc, but comparisons reveal them to be Brahms’\n    own transcriptions for Nos. 1 and 3 and Martin Schmeling’s transposed\n    arrangement for No. 7, with some emendations, most likely by the conductor\n    himself (\u003cem\u003ee.g.\u003c\/em\u003e the solo celesta ending for No. 3). The performances\n    have a tremendous verve and swagger which seems to leap off the grooves.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Sevitzky made his final recordings for Victor in 1946, although some were\n    not first released until 1949. In 1953, the fledgling Capitol label signed\n    Sevitzky and the orchestra to record the Dvořák, Enescu and Khatchaturian\n    works on our program, along with the latter’s \u003cem\u003eMasquerade\u003c\/em\u003e Suite\n    (which will be included on a future volume in this series). Capitol’s\n    engineering philosophy was markedly different from that which Sevitzky had\n    been given by Victor, with the new label favoring a brilliant sound\n    emphasizing the wider frequency range now allowed by tape-based recording,\n    but with less depth to the bass and what sounds like the addition of\n    artificial reverberation.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Dvořák dances are in the same fiery vein as the Brahms from a decade\n    earlier; while in the First Romanian Rhapsody, Sevitzky holds back the\n    faster tempos until later than some other conductors in order to maximize\n    their impact toward the end. For the Khatchaturian, whose score includes\n    Armenian folk melodies and Kurdish, Georgian and Ukrainian dances, Sevitzky\n    rearranged the order of the eight movements of the first ballet suite,\n    which at the time had placed the ubiquitous “Sabre Dance” at the beginning.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Capitol recordings were to be the last Sevitzky made, as he left the\n    orchestra in 1955. He continued to teach and guest conduct until his death\n    in 1967.\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\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    With this fourth volume in our series of the complete recordings of Fabien\n    Sevitzky and the Indianapolis Symphony Orchestra, we return to the Romantic\n    Russian repertoire for which he was particularly esteemed. Our focus here\n    is on two First Symphonies, both in G minor, separated in composition by\n    nearly three decades. For one composer, it was the start of a brilliant\n    career as a symphonist; while for the other, it was a success not to be\n    duplicated during the remainder of his short life.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Tchaikovsky began work on his first symphony in March of 1866, shortly\n    before his twenty-sixth birthday. It quickly became a trial for him due to\n    his desire to earn the approval of two of his teachers, Anton Rubinstein\n    and Nikolai Zaremba, musical conservatives whose ideals were centered on\n    Classical and early Romantic-era German models. They insisted on changes\n    before they would agree to a performance. The composer obliged, and the two\n    middle movements were presented in St. Petersburg in February of the\n    following year to little acclaim.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Tchaikovsky then went back, for the most part, to his original version,\n    which his friend Nikolai Rubinstein (Anton’s brother) was eager to perform.\n    The Scherzo alone was played at a Moscow concert in December of 1867, again\n    without much success. It was not until a complete performance the following\n    February that audiences finally warmed to the work. Tchaikovsky would go on\n    to revise the score in 1874, and would ultimately look back on this early\n    composition with great pride. (In this recording, Sevitzky performs the\n    last two movements without a pause.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Vasily Kalinnikov was born in 1866, the same year that Tchaikovsky’s First\n    Symphony was written. He had worked as a choral conductor and an\n    instrumentalist in theater orchestras when Tchaikovsky himself recommended\n    him for two opera house conducting posts in 1892. Kalinnikov’s worsening\n    tuberculosis caused him to resign after a short while in order to move to\n    the more hospitable climate of Yalta on the Baltic Sea. He spent the rest\n    of his life there composing before his death in 1901, shortly before his\n    thirty-fifth birthday. His First Symphony, which dates from this period,\n    was premièred in Kiev in 1897 and quickly traveled to the musical capitals\n    of the world. It remains the work by which he is best known.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Like his recording of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (reissued on\n    Volume 1 of this series, \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-fabien-sevitzky\/products\/pasc479\"\u003ePristine PASC 479\u003c\/a\u003e), the present works were\n    phonographic premières, and Sevitzky presents both colorful scores with\n    great enthusiasm and obvious affection. The sources for the transfers were\n    first edition American Victor pressings – postwar discs for the\n    Tchaikovsky, and wartime “silver” label copies for the Kalinnikov.\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\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    For this fifth and penultimate volume in our series of Fabien Sevitzky’s\n    complete recordings with the Indianapolis Symphony, we present all the\n    repertoire by Haydn and Grieg the conductor set down on disc with this\n    ensemble.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Haydn’s opera, \u003cem\u003eL’isola disabitata\u003c\/em\u003e (The Uninhabited Island) was\n    long known only by its overture, as the complete opera did not see print\n    until 1976. Sevitzky’s performance emphasizes the extremes of uneasy repose\n    and violent agitation in the music, in an intense performance that calls to\n    mind the final movement of “Winter” in Vivaldi’s \u003cem\u003eFour Seasons\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Haydn had previously used the final movement of his Symphony No. 73 as the\n    overture to his opera, \u003cem\u003eLa fedeltà premiata\u003c\/em\u003e (Fidelity Rewarded).\n    This in turn utilized a hunting theme that had figured in earlier works by\n    other composers, and thus the symphony gained the appellation “La chasse”\n    (the hunt). Sevitzky brings an energy and momentum to his reading that\n    belies the big orchestra approach of the time.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Like the better-known \u003cem\u003ePeer Gynt\u003c\/em\u003e, Grieg’s \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e\n    was written as incidental music to accompany a play, this one by Bjørnson\n    concerning King Sigurd I of Norway. Of the nine numbers he wrote, Grieg\n    chose three to organize into a concert suite. Sevitzky’s recording on a\n    single disc pairs only the first two excerpts, with the last (the “Homage\n    March”) left unrecorded.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe second suite of music Grieg had written to accompany Ibsen’s    \u003cem\u003ePeer Gynt\u003c\/em\u003e is the lesser-performed of the two the composer\n    arranged, even though it contains the lovely and popular “Solvejg’s Song”.\n    When this was recorded in the 1940s, the Victor label sometimes divided\n    works which would seem to go together naturally between two orchestras and\n    conductors. For example, Ormandy and the Philadelphia got to record\n    Enescu’s Romanian Rhapsody No. 1 while Hans Kindler and the National\n    Symphony did the honors for No. 2. Similarly, Eugene Goossens and the\n    Cincinnati Symphony set down on disc the first \u003cem\u003ePeer Gynt\u003c\/em\u003e suite,\n    with Sevitzky allotted the second. Sevitzky makes the most of the varied\n    moods of the four movements, aided by what was superb engineering for its\n    day, with the “Arabian Dance” a particular standout.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Recording activities largely halted during the Petrillo Ban (a musician’s\n    union action) from 1942 through 1944. When sessions resumed, Victor began\n    recording with a noticeable amount of compression, giving the sense (to\n    paraphrase critic Rob Cowan’s description) of a sound so massive the\n    grooves could scarcely contain it. While this approach gives a great deal\n    of presence to Grieg’s four \u003cem\u003eSymphonic Dances\u003c\/em\u003e, it also makes the\n    sound a bit unrealistic, as well as relentlessly aggressive. Still,\n    Sevitzky’s winning way with colorful, dance-based compositions carries the\n    day in these works inspired by Ludvig Mathias Lindeman’s collections of\n    Norwegian folk tunes.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe sources for these transfers were wartime 78 rpm shellac discs for\u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e and \u003cem\u003ePeer Gynt\u003c\/em\u003e; postwar shellacs for    \u003cem\u003eL’isola disabitata\u003c\/em\u003e and the \u003cem\u003eSymphonic Dances\u003c\/em\u003e; and 45 rpm\n    vinyls dubbed from Victor lacquer backup masters for the Haydn 73rd. None\n    of the works have ever seen an “official” CD reissue, and the Haydn\n    overture and \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e excerpts have not even previously\n    appeared on LP.\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\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    For this final volume in our series of Fabien Sevitzky’s complete\n    recordings with the Indianapolis Symphony, we present a program largely\n    devoted to dance music (three ballet suites, a minuet and two waltzes).\n    None of the works have ever received an “official” CD release, and the\n    Kreisler, Sgambati, Weber and Strauss pieces never even appeared on LP.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Our program begins with two works featuring Romantic era composers dabbling\n    in the forms of earlier times. Fritz Kreisler wrote a number of pieces for\n    violin in Baroque and early Classical styles, ascribing them to then\n    little-known composers such as Gaetano Pugnani. When his hoax was revealed\n    in 1935, some critics who had been taken in were apoplectic. Nonetheless,\nsome of the pieces have stayed in the repertoire, including his 1905    \u003cem\u003ePraeludium and Allegro\u003c\/em\u003e, which Sevitzky transcribed for full\n    orchestra in much the same “big band” manner that his conducting\n    contemporaries like Stokowski, Henry Wood and Barbirolli were then using to\n    orchestrate Bach, Handel and Purcell.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Giovanni Sgambati wrote his \u003cem\u003eVecchio Minuetto\u003c\/em\u003e in 1885 for solo\n    piano, looking back to the 18th Century dance that Haydn and Mozart\n    incorporated into many of their orchestral works. Appropriately, Sevitzky’s\n    performance was originally issued as the filler side to his recording of\n    Haydn’s Symphony No. 73 (reissued on Pristine \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc650\"\u003ePASC 650\u003c\/a\u003e\u003c\/i\u003e). Both this and the\n    next work, a Weber waltz, were orchestrated by Russian-American composer\n    Arcady Dubensky, who in the latter case took Weber’s original piano solo in\n    B-flat and transcribed it in D. Sevitzky recorded several of Dubensky’s\n    compositions, both with the Indianapolis Symphony (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc509\"\u003ePASC 509\u003c\/a\u003e\u003c\/i\u003e) and earlier\n    with his Philadelphia Chamber String Simfonietta (\u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc375\"\u003ePASC 375\u003c\/a\u003e\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Could it be a coincidence that the only Johann Strauss waltz that Sevitzky\n    ever recorded, \u003cem\u003eFr\u003c\/em\u003e\u003cem\u003eü\u003c\/em\u003e\u003cem\u003ehlingsstimmen\u003c\/em\u003e, was also one of\n    only two that his more famous uncle Serge Koussevitzky had set down 13\n    years earlier for the same label? In the event, Sevitzky proves himself to\n    be an entirely idiomatic interpreter, even though he had to drop a repeated\n    phrase and speed up a bit toward the end to get his reading to fit onto one\n    78 rpm side. It is a performance to make one wish he had recorded more of\n    this repertoire.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The two Delibes ballet suites were recorded at Sevitzky’s last session for\n    Victor in 1946, although they were kept “in the can” for three years before\n    being issued. In transferring these from their original LP issue (LM-1032,\nreleased in 1950), I was surprised to find that the “Czardas” from\u003cem\u003e Copp\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003elia\u003c\/em\u003e had been moved to the beginning of the    \u003cem\u003eSylvia\u003c\/em\u003e Suite. Evidently, no one noticed the mistake, and it was\n    never corrected during the disc’s relatively brief life in the catalog\n    before it was replaced by a Monteux\/Boston LP featuring the same suites in\n    a somewhat different selection and ordering of excerpts. (Its position has\n    been corrected here.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Khachaturian was one of only two LPs Sevitzky taped for Capitol at his\n    final recording sessions in 1953. Two years later, he left the Indianapolis\n    Symphony to teach at the University of Miami and guest conduct\n    internationally. During one such appearance, he died in Athens in 1967.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    According to the Sevitzky\/Indianapolis discography compiled by Frederick P.\n    Fellers, of the 43 titles which Sevitzky recorded with the Indianapolis\n    Symphony, no fewer than 12 were never issued. Most of these works were by\n    American composers, whom Sevitzky particularly championed by including one\n    on every program he conducted; but there were others by Bach, Berlioz,\n    Mozart and Verdi which were bypassed for release, as well. It is hoped that\n    someday, these will join the works on the six CDs of the present series,\n    and expand the known performances of this dynamic conductor.\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\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\u003eSEVITZKY\u003c\/b\u003e and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53)\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eSEVITZKY\u003c\/b\u003e and the Indianapolis Symphony, Volume 1 (1941-46)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e: \u003ci\u003eRusslan and Ludmilla\u003c\/i\u003e – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGlinka: Russlan and Ludmilla — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix No. CS 057573-2\u003cbr\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV: \u003ci\u003eDubinushka\u003c\/i\u003e, Op. 69\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRimsky-Korsakov: Dubinushka, Op. 69\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix No. CS 057574-1\u003cbr\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLIADOV: \u003ci\u003eBaba Yaga\u003c\/i\u003e, Op. 56\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLiadov: Baba Yaga, Op. 56\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 February 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Waltz from Eugene Onegin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTchaikovsky: Waltz from Eugene Onegin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY: \u003ci\u003eManfred\u003c\/i\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Lento lugubre — Moderato con moto — Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Vivace con spirito\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con fuoco\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27-28 January 1942\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos. CS 071331-1, 071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1, 071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY: Waltz from \u003ci\u003eEugene Onegin\u003c\/i\u003e\u003c\/b\u003e Recorded 19 March 1946\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eGLAZUNOV\u003c\/b\u003e: From the Middle Ages – Suite, Op. 79\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (7:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Serenade of the Troubadour\u003cspan style=\"font-size: 12px;\"\u003e (4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e The Crusaders\u003cspan style=\"font-size: 12px;\"\u003e (9:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 and 9 February 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: D5-RC-800-2, 801-1, 802-1, 803-2A , 804-2 , 805-2\u003cbr\u003eFirst issued on RCA Victor 12-0328\/30 in album M-1222\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eDUBENSKY: Fugue for 18 Violins\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e(4:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 January 1942\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: CS 071362-1\u003cbr\u003eFirst issued on Victor 11-8366 in album M-912\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eDUBENSKY: Stephen Foster – Theme, Variations and Finale\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (12:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLeon Zawisza, \u003ci\u003esolo violin\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 28 and 29 January 1942\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eMatrix nos.: CS 071351-2, 071352-1 and 071353-1\u003cbr\u003eFirst issued on Victor 11-8365\/6 in album M-912\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eCESANA: Negro Heaven\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 05786-1A and 05787-1A\u003cbr\u003eFirst issued on Victor 18070\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eGERSHWIN-BENNETT: Porgy and Bess: A Symphonic Picture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (19:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 February 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: D5-RC-811-1A, 812-1A, 813-1, 814-1A, 815-1 and 816-1\u003cbr\u003eFirst issued on RCA Victor 11-8789\/91 in album M-999\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal Timing: 69:11\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBRAHMS Hungarian Dances, WoO 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e No. 1 in G minor\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eBrahms\u003c\/b\u003e recorded 29 January 1942 on matrices CS 071357-1 and 071358-2. First issued on Victor 11-8223.\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 No. 3 in F major\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e No. 7 in A major (F major for orchestral version)\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK Slavonic Dances, Op. 46\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e No. 8 in G minor\u003cspan style=\"font-size: 12px;\"\u003e (3:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e No. 2 in E minor\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e No. 4 in F major\u003cspan style=\"font-size: 12px;\"\u003e (7:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e No. 1 in C major\u003cspan style=\"font-size: 12px;\"\u003e (3:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eENESCU Romanian Rhapsodies, Op. 11\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e No. 1 in A major\u003cspan style=\"font-size: 12px;\"\u003e (11:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e No. 2 in D major\u003cspan style=\"font-size: 12px;\"\u003e (10:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHATCHATURIAN Gayaneh – Ballet Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e Introduction and Dance of the Rose Maidens\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11\u003c\/span\u003e Awakening and Dance of Aysha\u003cspan style=\"font-size: 12px;\"\u003e (6:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12\u003c\/span\u003e Dance of the Mountaineers\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13\u003c\/span\u003e Lullaby\u003cspan style=\"font-size: 12px;\"\u003e (5:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14\u003c\/span\u003e Sabre Dance\u003cspan style=\"font-size: 12px;\"\u003e (2:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15\u003c\/span\u003e Armen’s Variation\u003cspan style=\"font-size: 12px;\"\u003e (1:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e16\u003c\/span\u003e Dance of the Young Kurds\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e17\u003c\/span\u003e Lezghinka\u003cspan style=\"font-size: 12px;\"\u003e (3:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eFabien Sevitzky ∙ Indianapolis 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: 16px;\"\u003eArtwork based on a photograph of \u003cb\u003eFabien Sevitzky\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eDvořák\u003c\/b\u003e, \u003cb\u003eEnescu\u003c\/b\u003e and Khatchaturian recorded on 22 – 23 January 1953 and first issued on Capitol H-8211 (\u003cb\u003eDvořák\u003c\/b\u003e), H-8210 (\u003cb\u003eEnescu\u003c\/b\u003e) and P-8223 (Khatchaturian).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eAll recordings made in the Murat Theatre, Indianapolis.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal Timing 78:57\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eFABIEN SEVITZKY\u003c\/b\u003e and the INDIANAPOLIS SYMPHONY, Volume 4\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVictor Studio Recordings ∙ 1941 \u0026amp; 1946\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 1 in G minor, Op. 13 “Winter Dreams” (1866)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st Mvt.: Allegro tranquillo (“Dreams of a Winter Journey”)\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt.: Adagio cantabile ma non tanto (“Land of Desolation, Land of Mists”)\u003cspan style=\"font-size: 12px;\"\u003e (10:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt.: Scherzo: Allegro scherzando giocoso\u003cspan style=\"font-size: 12px;\"\u003e (6:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th Mvt.: Finale: Andante lugubre – Allegro maestoso\u003cspan style=\"font-size: 12px;\"\u003e (11:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19 March 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: D6-RC-5250-2A, 5251-2, 5252-1C, 5253-1, 5254-2, 5255-1C, 5256-2A, 5257-2C \u0026amp; 5258-2\u003cbr\u003eFirst issued on RCA Victor 12-0040\/4 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eKALINNIKOV\u003c\/b\u003e: Symphony No. 1 in G minor (1894-95)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt.: Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (9:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt.: Andante commodamente\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt.: Scherzo: Allegro non troppo – Moderato assai\u003cspan style=\"font-size: 12px;\"\u003e (7:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt.: Finale: Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (9:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 \u0026amp; 8 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 057576-1, 057577-1A, 057578-1, 057579-2, 057580-1, 057581-2, 057582-1 \u0026amp; 057583-1\u003cbr\u003eFirst issued on Victor 18187\/90 in album M-827\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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 and Charles Niss for providing source material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal Timing: 75:20\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eHAYDN L’isola disabitata, Hob. XXVIII:9 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (7:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 January 1942 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 071360-1 \u0026amp; 071361-1 ∙ First issued on Victor 11-8487\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No. 73 in D major, Hob. I:73 “La chasse”\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt.: Adagio – Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (6:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Menuetto\u003cspan style=\"font-size: 12px;\"\u003e (3:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th Mvt.: Presto\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 February 1945 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: D5-RC-806-1B, 807-1A, 808-1, 809-1A \u0026amp; 810-2A ∙ First issued on RCA Victor 12-0952\/4 in album M-1312\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Sigurd Jorsalfar – Suite, Op. 56\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Prelude (In the King’s Hall)\u003cspan style=\"font-size: 12px;\"\u003e (4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Intermezzo (Borghild’s Dream)\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 January 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 057584-3A \u0026amp; 057585-2A ∙ First issued on Victor 18291\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Peer Gynt – Suite No. 2 , Op. 55\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Ingrid’s Lament\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Arabian Dance\u003cspan style=\"font-size: 12px;\"\u003e (4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Return of Peer Gynt\u003cspan style=\"font-size: 12px;\"\u003e (2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Solvejg’s Song\u003cspan style=\"font-size: 12px;\"\u003e (5:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 January 1942 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 071347-1, 071348-1, 071349-1 \u0026amp; 071350-1 ∙ First issued on Victor 11-8163\/4 in album M-902\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG Symphonic Dances, Op. 64\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e No. 1 in G major – Allegro moderato e marcato\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e No. 2 in A major – Allegretto grazioso\u003cspan style=\"font-size: 12px;\"\u003e (4:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e No. 3 in D major – Allegro giocoso\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e No. 4 in A minor – Andante – Allegro molto e risoluto\u003cspan style=\"font-size: 12px;\"\u003e (8:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 February 1945 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: D5-RC-817-1, 818-1A, 819-1, 820-2 \u0026amp; 821-1 ∙ First issued on RCA Victor 11-9245\/7 in album M-1066\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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 and Charles Niss for providing source material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal Timing: 73:28\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;\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 6\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eKREISLER (orch. Sevitzky) Praeludium and Allegro (in the Style of Pugnani)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 January 1942 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: CS 071328-1 \u0026amp; 071329-2 ∙ First issued on Victor 11-8439\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 February 1945 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: D5-RC-825-1 ∙ First issued on Victor 12-0954 in album M-1312\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 January 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CS 057596-1 ∙ First issued on Victor 11-8609\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 January 1941 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: CS 057590-1 ∙ First issued on Victor 11-8609\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\u003eSGAMBATI (orch. Dubensky) Vecchio Minuetto\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWEBER (orch. Dubensky) Waltz (No. 5 from Favoritenwalzer)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (2:15)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II Voices of Spring (Frühlingsstimmen) – Waltz, Op. 410\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (5:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES\u003c\/b\u003e Coppélia – Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Thème slave varié\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Danse fête\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Valse des heures\u003cspan style=\"font-size: 12px;\"\u003e (3:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Nocturne\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Danse des automates et Valse\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Czardas\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 March 1946 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: D6-RC-5260-2A, 5261-1, 5262-1A, 5263-1A, 5264-2A \u0026amp; 5265-1 ∙ First issued on RCA Victor 12-0909\/11 in album M-1305\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES\u003c\/b\u003e Sylvia – Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Prélude et Les Chasseresses\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Intermezzo et Valse lente\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Pizzicati\u003cspan style=\"font-size: 12px;\"\u003e (1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Cortège de Bacchus\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 March 1946 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: D6-RC-5266-2, 5267-2A, 5268-1 \u0026amp; 5269-1 ∙ First issued on RCA Victor 12-0912\/13 in album M-1305\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eKHACHATURIAN\u003c\/b\u003e Masquerade – Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Waltz\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Nocturne\u003cspan style=\"font-size: 12px;\"\u003e (4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Mazurka\u003cspan style=\"font-size: 12px;\"\u003e (2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Romance\u003cspan style=\"font-size: 12px;\"\u003e (3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Galop\u003cspan style=\"font-size: 12px;\"\u003e (2:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22-23 January 1953 \u003cspan style=\"font-size: 12px;\"\u003e∙ First issued on Capitol P-8223\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\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 works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTotal Timing: 71:43\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":40425144844349,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205518803278,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC680.jpg?v=1769530008"},{"product_id":"pabx040-cd","title":"SEVITZKY and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53) - PABX040 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":40425143304253,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC680_ad38cef7-f350-4482-81be-25eead22deb9.jpg?v=1670862102"},{"product_id":"pakm090","title":"BRENDEL plays Liszt (1955-58) - PAKM090","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eLISZT \u003c\/b\u003eHarmonies poétiques et religieuses\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eAnnées de pèlerinage\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eGrandes études de Paganini\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eOperatic transcriptions\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1955-58\u003cbr\u003eTotal duration: 79:25\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Brendel\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you want unadulterated Liszt, it has to be as virtuosic and exciting as he was at the time. Brendel succeeds at this for a memorable program578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThese superbly remastered recordings were made in 1955–58 when Brendel was in his twenties. The stated goal here is to offer stunning examples of the pianist’s early and emerging genius with sound quality vastly improved over the original Vox LPs. I have enjoyed and referenced so many of his recordings over the years that hearing this early collection was a reaffirmation of my collegiate LP listening choices. I had his huge LP box of all of Beethoven’s piano music and many individual discs and tapes. His Russian disc from 1955 ( Pictures at an Exhibition, Petrouchka, Islamey ) remains my reference recording of these pieces (SPJ Vox 97203; see Fanfare 22:6, July\/Aug 1999).\u003c\/p\u003e\u003cp\u003eThis release gave me a chance to check up on the 92-year-old pianist born in Czechoslovakia (1931), who retired in 2008 and has lived in London since 1971. He is one of the few pianists from this era that I never saw live in concert. Fortunately there have been some video interviews and performances, along with a fascinating DVD of a Winterreise rehearsal and performance with Fisher-Dieskau (Arthaus 109317, Fanfare 40:6, Jul\/Aug 2017). I was surprised to learn that he is mostly self-taught, not having any further formal training beyond the age of 16. He says he doesn’t have a phenomenal memory and is not a good sight-reader. Yet his first recording in 1950 was Prokofiev’s Piano Concerto No. 5, at age 19! What a musical mind this man has, and the fingers to back it up.\u003c\/p\u003e\u003cp\u003eBrendel’s Liszt recordings have always been considered quite good, but often criticized as being too intellectual and not as exciting as they should be. All one needs to do is read his analysis of Liszt’s Sonata to realize all that he finds in that score. Yet his recorded performance of a piece I hear on a weekly basis is not one that I return to with any regularity. This generous program is different in its excitement level and great variety. Selections from three of Liszt’s major collections alongside three operatic arrangements make for a very satisfying disc. Hats off to Andrew Rose, who is responsible for the remastering that addresses the tonal issues of the original 1950s recordings. He also removes some unwanted background noise and corrects some pitch instabilities, along with being the one to select the pieces and order the program.\u003c\/p\u003e\u003cp\u003eMy college music history advisor used Brendel’s recordings as examples in many classes. He said essentially that when you listened to Beethoven as played by Brendel, you got the unadulterated Beethoven. I bring this same thought to the Liszt here, most of which was composed when Liszt was in his 20s or 30s and the most renowned pianist in the world. If you want unadulterated Liszt, it has to be as virtuosic and exciting as he was at the time. Brendel succeeds at this for a memorable program.\u003c\/p\u003e\u003cp\u003eThe short booklet essay is a wonderful quote from Brendel ( The New York Review of Books , 1986) that pretty much sums up Liszt and his changing legacy. Given the performances and sound, this is a must have for any Liszt aficionado.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJames Harrington\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eClassical review\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM090.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDo composers gain from posthumous anniversaries? If their greatness is well enough established, the playing of their lesser-known works may further enhance their reputation; if unduly neglected, they may be helped out of their oblivion. Those afflicted by a history of chronic misrepresentation, pervasive malice, and lingering doubt stand the slimmest chance. Celebrating the 100th anniversary of Liszt’s death and the 175th of his birth, a plethora of Liszt festivals, marathons, and competitions this year may well prove to have further obscured the stature of a man who has to be defended on several fronts: against some of his champions and partisan admirers, against the crowd of skeptics and adversaries, and, to a lesser extent, against himself.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen Liszt died, he made the mistake of leaving behind an unusual legacy of envy. There is a relation between envy and posthumous fame. Liszt’s early European success as virtuoso and improviser equaled that of Mozart; a few years later, his “genius of expression” (Schumann) and boundless pianistic skill made him, as a player, superior even to Chopin, Mendelssohn, or Clara Schumann. The combination of a lively mind, personal magnetism, masculine beauty, the social triumphs enjoyed by a privileged parvenu, and a love life bordering on scandal turned out to be, within one human being, barely forgivable. There was a conspicuous absence of mitigating circumstances such as Mozart’s or Schubert’s early death, Mozart’s alleged impoverishment and unmarked “pauper’s grave,” Schubert’s syphilis, Beethoven’s deafness, Chopin’s consumption, or Schumann’s mental disorder—features that make the fame of a genius a great deal more gratifying, and guarantee its solidity. (Wagner’s monstrous egotism and merciless promotion of his own ends, while not stimulating compassion or malicious glee, present a frame of mind many people enjoy sharing.)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eArguably, Liszt and Haydn are the most frequently misunderstood among major composers; their biographers afford little food for pity. (The insufferable bigotry of Haydn’s wife and the senility of his last years do not, it seems, sufficiently atone for his achievement in being the first great symphonist and the grand master of the string quartet.) In old age, Haydn reigned over the musical world as its undisputed leading light. For this, the nineteenth century punished him—as it punished Liszt for his undisputed supremacy as a performer. Haydn was branded the ingenious classicist (something he rarely was), “the family friend who is always welcome but has nothing to say that is new” (Schumann). Liszt, in his compositions, was seen as a poseur and charlatan (which he only occasionally was), the embodiment of a superficial and bombastic romanticism. Not until our century did a greater number of composers—from Richard Strauss, Ravel, and Busoni to Schoenberg, Bartók, and Boulez—appreciate Liszt by taking him seriously.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e– \u003cb\u003eAlfred Brendel\u003c\/b\u003e, \u003ci\u003eThe New York Review of Books\u003c\/i\u003e, 20 November 1986 (introduction - \u003ca href=\"https:\/\/www.nybooks.com\/articles\/1986\/11\/20\/the-noble-liszt\/\"\u003efull article available here\u003c\/a\u003e)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlfred Brendel has long championed the music of Franz Liszt: his recording career began in 1952 with a recording of Liszt's \"Weihnachtsbaum\" - its première recording - and he continued to record and perform the composer's music throughout his lengthy career. The 1950s saw Brendel make a good number of Liszt recordings on the Vox label prior to signing to Philips, where he was to spend the rest of his career. Vox were, in many ways, a pioneering label at the time, but technically their recordings sometimes fell short of the best of the era. In this selection of I hope to demonstrate the genius of the young Brendel's Liszt interpretations in sound quality that does full justice to his playing, addressing not only tonal issues but also pitch instability and unwanted background noises, thus offering the finest possible representation of these exquisite performances.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eBRENDEL \u003c\/b\u003eplays \u003cb\u003eLiszt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLISZT \u003c\/b\u003eHarmonies poétiques et religieuses III, S.173\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e No. 10 - Cantique d'Amour\u003cspan style=\"font-size: 12px;\"\u003e (6:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e No. 3 - Bénédiction de Dieu dans la solitude\u003cspan style=\"font-size: 12px;\"\u003e (15:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e No. 7 - Funérailles\u003cspan style=\"font-size: 12px;\"\u003e (10:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Mach 1955\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWEBER (arr. Liszt)\u003c\/b\u003e Oberon - Overture, S.574\u003cspan style=\"font-size: 12px;\"\u003e (9:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eVERDI (arr. Liszt)\u003c\/b\u003e Il trovatore - Miserere du Trovatore, S.433\u003cspan style=\"font-size: 12px;\"\u003e (8:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eWAGNER (arr. Liszt)\u003c\/b\u003e Tristan und Isolde - Isoldes Liebestod, S.447\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLISZT \u003c\/b\u003eAnnées de pèlerinage II, S.161\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e No. 4 - Sonetto 47 del Petrarca\u003cspan style=\"font-size: 12px;\"\u003e (5:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e No. 5 - Sonetto 104 del Petrarca\u003cspan style=\"font-size: 12px;\"\u003e (6:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1957\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLISZT \u003c\/b\u003eGrandes études de Paganini, S.141\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e No. 2 - Andante\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e No. 3 - La Campanella. Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1958\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAlfred Brendel\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Alfred Brendel\u003cbr\u003eOriginal recordings made by Vox\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:25\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\/PAKM090.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM090.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":40482020425789,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205518344526,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205518377294,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM090_cd5fb1df-633c-4dd7-a23e-73ac311ebec0.jpg?v=1695118634"},{"product_id":"pakm090-cd","title":"BRENDEL plays Liszt (1955-58) - PAKM090 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM090.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":40481951219773,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205518311758,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM090.jpg?v=1710934166"},{"product_id":"pabx042","title":"SZIGETI The Complete European Columbia Recordings (1926-46) - PABX042","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eViolin Sonatas 1 \u0026amp; 2\u003cbr\u003e\u003cb\u003eBACH \u003c\/b\u003eConcerto for Two Violins\u003cbr\u003e\u003cb\u003eHANDEL \u003c\/b\u003eViolin Sonata No. 4\u003cbr\u003e\u003cb\u003eTARTINI \u003c\/b\u003eViolin Sonata in G\u003cbr\u003e\u003cb\u003eTARTINI \u003c\/b\u003eViolin Concerto in D minor\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eViolin Sonata No. 21\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eViolin Concerto No. 4\u003cbr\u003eshort works by \u003cb\u003eBACH, EXAUDET, TARTINI, VERACINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eViolin Sonata No. 3\u003cbr\u003e\u003cb\u003ePAGANINI \u003c\/b\u003eCaprices\u003cbr\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eRondo\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Sonata No. 3\u003cbr\u003eMusic by \u003cb\u003eBERLIOZ, HUBAY, ELGAR, KREISLER, DVOŘÁK, CHABRIER, RIMSKY-KORSAKOV, FALLA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWARLOCK \u003c\/b\u003eCapriol Suite\u003cbr\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eHungarian Folk Tunes\u003cbr\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eRomanian Folk Dances\u003cbr\u003e\u003cb\u003eIVES \u003c\/b\u003eViolin Sonata No. 4\u003cbr\u003e\u003cb\u003eBLOCH \u003c\/b\u003eViolin Concerto\u003cbr\u003emusic by \u003cb\u003eDEBUSSY, RAVEL, MILHAUD, LIE, SZYMANOWSKI, SCRIABIN, STRAVINSKY\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC695.mp3","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":46887754137934,"sku":null,"price":77.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205515624782,"sku":null,"price":63.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC695.jpg?v=1772119371"},{"product_id":"pabx042-cd","title":"SZIGETI The Complete European Columbia Recordings (1926-46) - PABX042 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"7 CDs only in plastic sleeves (+MP3)","offer_id":46888422900046,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC695_2e293642-8e38-46fb-938f-ce7b1ffdb00f.jpg?v=1689864122"},{"product_id":"pasc715","title":"BOULT \u0026 BBC SO Pre-War Recordings, Volume 2 (1932-37) - PASC715","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz, Euryanthe Overtures\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eHebrides, Ruy Blas Overtures\u003cbr\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eMidsummer Night's Dream Nocturne\u003cbr\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eLes francs juges, Le roi Lear, Roman Carnival Overtures\u003cbr\u003e\u003cb\u003eAUBER \u003c\/b\u003eMasaniello Overture\u003cbr\u003e\u003cb\u003eNICOLAI \u003c\/b\u003eMerry Wives of Windsor Overture\u003cbr\u003e\u003cb\u003eCHOPIN \u003c\/b\u003eFuneral March (arr. Elgar)\u003cbr\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003eCoronation March\u003cbr\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eManfred Overture\u003cbr\u003e\u003cb\u003eSUPPÉ \u003c\/b\u003eLight Cavalry Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1932-1937\u003cbr\u003eTotal duration: 1hr 58:06\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC715.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\n        This volume is the  second in a series of four which will reissue all of\n        Sir Adrian Boult’s  orchestral recordings with the BBC Symphony from the\n        1930s, many for the first  time since their appearance on 78 rpm discs.\n        While his concerto recordings with  the ensemble during this period have\n        remained sporadically available, his  purely orchestral discs have seen\n        only a handful of reissues over the years, focusing  on a small amount\n        of repertoire. The present release features the only  recordings of the\n        overtures by Auber, Weber and Schumann that Boult made over  his long\n        career; and to the best of our knowledge, half of the selections on\n        this release have never previously been reissued.\n\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Adrian  Boult had been the music director of the City of Birmingham\n    Orchestra since  1924 when he was approached by the British Broadcasting\n    Company regarding the  creation of a permanent orchestra for broadcasts and\n    concerts. Its first  appearance in October, 1930 revolutionized the London\n    music scene with a  standard of playing far above what had hitherto been the\n    norm, an achievement  that was soon rivaled by Beecham’s creation of the\n    London Philharmonic two  years later. The BBC Symphony, which Boult led\n    until he reached his mandatory  retirement age in 1950, made its first\n    recordings in May, 1932. He was knighted  in 1937.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    While  the first volume of our series focused on Baroque and Classical era\n    repertoire,  this release presents music from the early Romantic period; and\n    while the  earlier release included works of extended length (including\n    three symphonies),  the present one is comprised mainly of lively, colorful\n    opera overtures, the  kind of music which was once ubiquitous as symphonic\n    program openers and at  outdoor bandshell concerts, but which has almost\n    completely disappeared from  the repertoire over the past several decades.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Boult  greatly admired Toscanini (as can be heard in his radio interval talk\n    during  one of The Maestro’s postwar Philharmonia Brahms concerts on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc377\"\u003ePASC    377\u003c\/a\u003e), and his  approach in these works mirrors the elder conductor’s focus\n    on clarity of  instrumental lines, forward-moving tempi and avoidance of\n    interpretational  indulgence. Boult uses string portamenti sparingly, yet\n    with effect; and he is  also able to whip up immense excitement, a prime\n    example of which is the ending  of the \u003cem\u003eRoman Carnival\u003c\/em\u003e Overture.\n    (Interestingly, Boult had recorded both  sides of this work at the beginning\n    of a session involving several works, then  had the orchestra repeat the\n    last side for two more takes at the end,  presumably after they had been\n    sufficiently loosened up. It was from those last  takes that the published\n    side was taken.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The  sources for the transfers were American Victor “Z”-type shellac\n    pressings for the \u003cem\u003eHebrides\u003c\/em\u003e, \u003cem\u003eRuy Blas\u003c\/em\u003e, \u003cem\u003eMasaniello\u003c\/em\u003e\n    and \u003cem\u003eLight Cavalry\u003c\/em\u003e overtures and the\n    \u003cem\u003e\n        Midsummer Night’s Dream\n    \u003c\/em\u003e\n    Nocturne; Victor “Gold” label  pressings for the \u003cem\u003eEuryanthe\u003c\/em\u003e,\n    \u003cem\u003e\n        Merry Wives of Windsor\n    \u003c\/em\u003e\n    , and \u003cem\u003eManfred\u003c\/em\u003e overtures; wartime Victors (the earliest U.S.\n    editions) for \u003cem\u003eLes francs juges\u003c\/em\u003e and \u003cem\u003eLe roi Lear\u003c\/em\u003e; and\n    British HMV discs for the remainder, which were not  issued in the States.\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\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 \u0026amp; BBC SO\u003c\/b\u003e Pre-War Recordings, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (73:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eWEBER \u003ci\u003eDer Freischütz\u003c\/i\u003e- Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 October 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2B 2855-6 \u0026amp; 2856-3 ∙ First issued on HMV DB 1678\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\u003eWEBER \u003ci\u003eEuryanthe\u003c\/i\u003e - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 January 1937 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: 2EA 4630-1A \u0026amp; 4631-1A ∙ First issued on HMV DB 3130\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eMENDELSSOHN \u003ci\u003eHebrides\u003c\/i\u003e Overture (\u003ci\u003eFingal’s Cave\u003c\/i\u003e), Op. 26\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 October 1933 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2B 4687-2 \u0026amp; 4688-2A ∙ First issued on HMV DB 2100\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eMENDELSSOHN Nocturne from \u003ci\u003eA Midsummer Night’s Dream\u003c\/i\u003e, Op. 61\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e  (5:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAubrey Brain\u003c\/b\u003e, \u003ci\u003esolo horn\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 6 April 1933 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 0B 4168-2 \u0026amp; 4169-1 ∙ First issued on HMV DA 1318\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eMENDELSSOHN \u003ci\u003eRuy Blas\u003c\/i\u003e - Overture\u003c\/b\u003e \u003cb\u003e, Op. 95\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 November 1934 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2EA 880-1A \u0026amp; 881-2A ∙ First issued on HMV DB 2365\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eBERLIOZ \u003ci\u003eLes francs juges\u003c\/i\u003e \u003c\/b\u003e \u003cb\u003eOverture, Op. 3\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 December 1936 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2EA 4168-1A, 4169-1 \u0026amp; 4170-1 ∙ First issued on HMV DB 3131\/2\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cb\u003eBERLIOZ \u003ci\u003eLe roi Lear\u003c\/i\u003e Overture, Op. 4\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 December 1936 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2EA 4171-1A, 4172-1 \u0026amp; 4173-1 ∙ First issued on HMV DB 3093\/4\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eBERLIOZ \u003ci\u003eRoman Carnival\u003c\/i\u003e Overture, Op.9\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 October 1933 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2B 4685-1 \u0026amp; 4686-2A ∙ First issued on HMV DB 2078\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (44:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eAUBER \u003ci\u003eMasaniello\u003c\/i\u003e - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 November 1934 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2EA 878-3A \u0026amp; 879-2A ∙ First issued on HMV DB 2364\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\u003eNICOLAI \u003ci\u003eThe Merry Wives of Windsor\u003c\/i\u003e - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 March 1934 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2B 6851-2A \u0026amp; 6852-1A ∙ First issued on HMV DB 2195\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eCHOPIN (orch. Elgar) Funeral March from Sonata No. 2 in B-flat minor\u003c\/b\u003e \u003cb\u003e, Op. 35\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2B 2903-1B \u0026amp; 2904-2A ∙ First issued on HMV DB 1722\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eMEYERBEER Coronation March from \u003ci\u003eLe prophète\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16 April 1937 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2EA 1053-3 ∙ First issued on HMV DB 3163\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cb\u003eSCHUMANN \u003ci\u003eManfred\u003c\/i\u003e - Overture, Op. 115\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 March 1934 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2B 6847-2A, 6848-2A \u0026amp; 6849-1 ∙ First issued on HMV DB 2189\/90\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cb\u003eSUPPÉ \u003ci\u003eLight Cavalry\u003c\/i\u003e - Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (6:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 November 1934 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 2EA 876-2A \u0026amp; 877-2A ∙ First issued on HMV DB 2362\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSir Adrian Boult ∙ BBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to the British Library, Nathan Brown, Richard A. Kaplan and Charles Niss for providing source material\u003cbr\u003eAll recordings made at Abbey Road Studio No. 1, London except for CD 1, Track 1, recorded in Kingsway Hall, London\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 58:06\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\/PASC715.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC715.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":47951474458958,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205511364942,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC715.jpg?v=1713500105"},{"product_id":"pasc715-cd","title":"BOULT \u0026 BBC SO Pre-War Recordings, Volume 2 (1932-37) - PASC715 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC715.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":47951489204558,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205511332174,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC715_6475141a-d961-4728-82c2-36d5e43f83f9.jpg?v=1713186859"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Weber.jpg?v=1496242683","url":"https:\/\/www.pristineclassical.com\/collections\/composer-weber.oembed?page=6","provider":"Pristine Classical","version":"1.0","type":"link"}